IX.

S. Brainard's Sons' Music-Publishing House,Cleveland, O., April 2, 1877.Dear Sir,—... Mr. Justin Holland is one of our finest practical and theoretical musicians. He has written two large methods for the guitar, besides being the composer and arranger of a large amount of guitar-music, both vocal and instrumental. He is a refined and educated gentleman of very modest and unpretending character, but is a thorough musician and student.Yours,S. Brainard's Sons.

S. Brainard's Sons' Music-Publishing House,Cleveland, O., April 2, 1877.

Dear Sir,—... Mr. Justin Holland is one of our finest practical and theoretical musicians. He has written two large methods for the guitar, besides being the composer and arranger of a large amount of guitar-music, both vocal and instrumental. He is a refined and educated gentleman of very modest and unpretending character, but is a thorough musician and student.

Yours,

S. Brainard's Sons.

A few years ago, on his return from a visit to New Orleans, he stopped at Leavenworth, Kan. The editor of the leading paper in Leavenworth, supposing that Mr. Holland intended to remain there, thus spoke of him editorially:—

"PROFESSOR HOLLAND."We had the pleasure of a visit yesterday from Professor J. Holland of Louisiana, who is an eminent music teacher and writer of thirty years' practical experience. He purposes locating in Leavenworth, and giving instructions on the guitar, flute, and piano. He has made an especial study of the guitar, and has written a work on it which is pronounced the best in print by competent critics. We need just such a man as the professor in this city, and are glad he has come among us, and hope he may receive a liberal patronage."

"PROFESSOR HOLLAND.

"We had the pleasure of a visit yesterday from Professor J. Holland of Louisiana, who is an eminent music teacher and writer of thirty years' practical experience. He purposes locating in Leavenworth, and giving instructions on the guitar, flute, and piano. He has made an especial study of the guitar, and has written a work on it which is pronounced the best in print by competent critics. We need just such a man as the professor in this city, and are glad he has come among us, and hope he may receive a liberal patronage."

And the editor of "The Musical World," Professor Carl Merz, thus mentioned Mr. Holland in the number of that journal for October, 1877:—

... "Again we would mention Mr. Justin Holland, teacher of the guitar, and composer of music for this instrument. Mr. Holland is a great lover of art, a gentleman of culture, who reads fluently several languages, and whose labors are highly esteemed by publishers as well as by lovers of the guitar. From 'Der Freimaurer,' a monthly published in Vienna, Austria, we learn that Mr. Holland is now in his fifty-seventh year. He lives in Cleveland, where he enjoys the patronage of the lovers of music, irrespective of color."

As before intimated, Mr. Holland's pupils have been in many cases members of the richest and most highly cultivated families of Cleveland; and such have been his skill as an instructor, and his noble qualities of heart and mind in general, as evinced in his deportment towards them, that the persons just mentioned, and others of his scholars, have ever entertained for him not only feelings of deep respect, but those alsoof affection. Among other very pleasing instances of this is one found in the case of Mr. and Mrs. Briggs of Massachusetts, the former a son of Ex-Gov. Briggs of that State, and the latter a native of Cleveland, a lady of great refinement and general culture, who, up to the time of her marriage, was a pupil of Mr. Holland. This estimable couple, who formerly and semi-annually visited Cleveland, never failed at such times to pay their respects to Mrs. Briggs's former tutor, showing by this course that neither time nor space could obliterate the warm regard which had been created by previous pleasant associations.

The writer has thus far said but very little of Mr. Holland's abilities as a performer on, and teacher of, the flute and piano-forte. Let it suffice to say, briefly, that these abilities are such as to show, that, had he chosen to devote himself to either of these two instruments as much as he has devoted himself to the guitar, he might have attained to great distinction in the same. But, even as it is, he is regarded as a fine flutist and pianist. For the piano he has composed and arranged a number of pieces. He has played in public occasionally, of course always with the greatest acceptance. He has, however, never sought for nor made occasions to play in public; being always noticeable for a love of the quieter, and to him pleasanter, walks of musical life.

And now, if this were not intended as a book on musical history alone, the writer might occupy many more pages in narrating the many important events connected with the life of Mr. Holland as a distinguished member for years of the order of Free Masons. We may be allowed to mention incidentally, that his reputation as one of the "noble craft" is even greater than hisreputation as a musician. It is more nearly world-wide; for we find that as a Mason he is well known in the South and West of this country, and in South America, Italy, Germany, and France. A sketch of his life, together with his portrait, was published at Vienna, Austria, in the illustrated monthly "Der Freimaurer" ("The Freemason"), in the number for February, 1877. From this journal I learn that Mr. Holland has been a most active and indispensable member of Excelsior Lodge No. 11 of Cleveland (which he assisted in forming in 1865), and of the Grand Lodge of Ohio. In the former he has held the offices of Secretary and Junior Warden; and in the latter he first served two terms (declining a third) as Worshipful Master, and afterwards was elected Senior Grand Deacon, Deputy Grand Master, Deputy Grand High Priest, of the Grand Chapter of Royal Arch Masons for Ohio,—serving three terms,—and Most Excellent Grand High Priest. In conducting the foreign correspondence of the Grand Lodge, Mr. Holland has for a number of years performed a most invaluable service. In this work, his familiar acquaintance with the French, Spanish, German, Italian, and Portuguese languages was put to uses the most important, as through the same, and his very intelligent and painstaking management, the colored Masons of Ohio have been fully recognized by, and brought into communication with, the Grand Lodges of France, Peru, Germany, Portugal, and Spain. Mr. Holland has also been appointed the representative in this country of the Grand Lodges of France and Peru, each appointment a very rare distinction. He has several times received complimentary mention in the addresses of the Grand Masters of the Ohio Lodge; and in 1866he was the recipient from the members of the latter of a set of highly eulogistic resolutions, and of a valuable gold watch appropriately inscribed. All these honors were tendered as earnest tokens of the high estimation in which he was held by the brotherhood for the skill and zeal he had so often displayed in serving a cause founded on the noble principles of faith, hope, and charity.

What a busy, what a useful, honorable life, have we been following! It is hoped that the reader has been entertained and instructed by even this far from perfect unfolding of the same. As for the writer, he leaves its present consideration with feelings of affectionate regret; while he would fain remain to study again and again the valuable lessons that it teaches, and to watch with unabated interest the fortunes of its future. May the latter bring to our noble friend and artist as little of disappointment as may be! and when the end shall finally come, as come it must some day to all, may he have, as a crowning and sweet reward for the manly, the heroic past, a sleep like that of him who "lies down to pleasant dreams"!

THOMAS J. BOWERS, who, owing to his resembling in the magnificent quality of his voice that celebrated Italian singer, has been styled by the press the "American Mario," was born in Philadelphia in the year 1836.

Thomas J. Bowers

THOMAS J. BOWERS.

When quite a lad he evinced a decided fondness for music, and much musical talent. His father, a man of considerable intelligence, and for twenty years the warden of St. Thomas's P.E. Church in Philadelphia, being desirous that his children should learn music, first procured a piano and an instructor for his eldest son, John C. Bowers; intending, after he became competent so to do, that he should teach the other children. This purpose was accomplished; and our subject was instructed by his brother to perform upon the piano-forte and organ. At eighteen he had become somewhat proficient in the playing of these instruments, and succeeded his brother as organist of St. Thomas's Church.

I must not fail to mention here, that the younger of his two sisters, SarahSedgwickBowers, became a fine singer. In the rendering of classical and all operatic music she exhibited much talent, was of handsome appearance, and elicited very complimentary notices from the press. I shall have occasion to speak of this lady more at length hereafter.

The parents of the subject of this sketch, although highly pleased with the natural musical qualities and with the accomplishments displayed by their children, were such strict church people as not to wish them to become public performers. Recognizing the pleasing, refining influence of music, they desired its practice by their children in the home-circle, for the most part; but were not averse, however, to hearing its sweet and sacred strains issue from choir and organ in church-services, nor to having their children take part in the same.

The wishes of his much-loved parents Mr. Bowers respected. For this reason he refused to join the famous "Frank Johnson's band" of Philadelphia, although strongly urged by its director; and all offers made to him to join other public organizations were declined for a long time.

But his very rare powers as a tenor-vocalist were those which previous to the attainment of his majority had most attracted the attention and excited the admiration of many persons. Indeed, his voice was considered as something extraordinary in its power, mellowness, so to speak, and its sweetness.

Thus endowed, it was not possible, in the nature of things, that he should remain only a singer in private; and so, at Sansom-street Hall, Philadelphia, in 1854, he was induced to appear with the "Black Swan" as her pupil.

Although it was not at this concert that he made his first public "hit," as it is called, yet the press of Philadelphia spoke of his performances on that occasion in the most flattering terms, and called for a repetition of the concert. This was given, our subject meeting with still greater success. At this time, one of the critics, in commenting on the voice and style of singing of Mr. Bowers, called him the "colored Mario." Considering the almost if not quite peerless position then held in the musical world by the distinguished Italian tenor, Mario, this was a most strikingly favorable comparison. But our artist was so modest as to doubt that he merited such high praise. The press, however, generally persisted in styling him the "colored Mario," the "American Mario," &c.; and by these sobriquets he is most known to-day.

Col. Wood, once the manager of the Cincinnati Museum, hearing of the remarkable singing qualities of Mr. Bowers, came to Philadelphia to hear him. He was so much pleased, that he entered into an engagement with him to make a concert tour of New-York State and the Canadas. This was in company with MissSarahTaylor Greenfield, the famous songstress. The great vocal ability as well as the novelty formed by the complexions of this couple produced quite a sensation, and secured for them great success wherever they appeared.

During this tour Col. Wood wished Mr. Bowers toappear under the title of the "IndianMario," and again under that of the "AfricanMario." He withheld his consent to the use of either of these names, but adopted that of "Mareo." This he has since retained as his professional cognomen.

Mr. Bowers was induced to engage in public performances more for the purpose of demonstrating by them the capacity of colored persons to take rank in music with the most highly cultured of the fairer race than for that of making a mere personal display of his highly-rated musical abilities, and for the attainment of the enjoyment which they would naturally be supposed to afford him.

Writing to a friend, he thus speaks of the principle that governed him:—

"What induced me more than any thing else to appear in public was to give the lie to 'negro serenaders' (minstrels), and to show to the world that colored men and women could sing classical music as well as the members of the other race by whom they had been so terribly vilified."

Nor would he ever yield to that mean and vulgar prejudice, once so prevalent, but now happily disappearing, which either sought to prevent colored persons from entering at all the public-amusement hall, or else to force them to occupy seats near the entrance, or away up in the gallery. All must be treated alike, or he would not sing. As illustrating this characteristic, I give the following incident connected with the concert tour in Canada:—

In Hamilton, a Dr. Brown purchased for himself and some friends six reserved-seat tickets, at a cost of one dollar each. After he had done so, Mr. Bowers's agentwas informed by the proprietor of the hall in which the concert was to be held that "colored people were not admitted to first-class seats in Canada." This created much excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood that he would not sing, if he refused to admit the doctor's party on the terms implied by his tickets; that if, after entering, there should be any attempt to oust them, he would assist them; and that he did not leave his home to encourage such mean prejudice. This noble stand against unjust discrimination resulted in granting to Dr. Brown the seats for which he had purchased tickets; and, after this time, no attempt was made to exclude colored persons from the concerts of the troupe.

Mr. Bowers, during his career, has sung in most of the Eastern and Middle States; and at one time he even invaded the slavery-cursed regions of Maryland. He sang in Baltimore, the papers of which city were forced to accord to him high merit as a vocalist.

When we consider the high ideal cherished from the very commencement of his career by our subject, it is not surprising that his musical performances have never been marred by the singing of other than classical or the best music. He does sing, at times, songs in the ballad form; but these are always of the higher class, and such as would be adopted by any first-class singer. Hisrepertoireis composed of most all the songs for the tenor voice in the standard operas and oratorios. He sings with fine effect such gems as "Spirito Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;" and "How so Fair," from "Martha."

Mr. Bowers resides at present in Philadelphia, and is a little past forty years of age. He sings as well nowas ever; some think better than ever. He appears occasionally in public, but only in company with the first artists, as he firmly believes in maintaining always for himself and others a high musical standard. His voice ranges within a semitone of two octaves.

He is a man of decidedly handsome form, and of graceful, pleasing stage appearance; is, indeed, an ideal tenor, and a real artist.

I append, from among the many press-notices that have appeared during his career, the few that follow.

"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the Sansom-street Hall concerts, and alluding to some defects in the manner of his gestures, thus speaks of the performances of our subject:—

"He has naturally a superior voice, far better than many of the principal tenors who have been engaged for star opera troupes. He has, besides, much musical taste."

"The Boston Journal" said,—

"The tenor of this troupe (Mr. Bowers) possesses a voice of wonderful power and beauty."

Another paper said,—

"As most of our citizens have heard the 'colored Mario,' it is unnecessary for us to speak of his singing, as it is generally admitted that his tenor is second to none of our celebrated opera-singers."

Another said,—

"The concert given by the Sedgwick Company was a great success.... 'Mario's' fine tenor voice was never more feelingly exercised, nor more rapturously encored."

Again he is thus highly praised:—

"The 'colored Mario's' voice is unequalled by any of the great operatic performers."

A Montreal paper said,—

"'Mario' is a very handsome specimen of his race, and has a fine tenor voice.... He, too, was repeatedly encored, both in his solo-pieces and in his duets with Miss Greenfield."

The true value of the foregoing comments from the press will be better understood when the reader calls to mind the fact, that, when they were made, Mr. Bowers had as contemporaries the wonderful Signor Mario, the eminent "Swedish Nightingale," Jenny Lind, the not much less charming songstress, Parodi, as well as several fine tenor-singers connected with the Italian opera companies then performing throughout this country. With such models as these to elevate their tastes and guide their judgments, the critics knew well the worth of all they said in praise of Mr. Bowers. Forming our judgments, then, from what they did say of him (only a very few of their highly favorable comments have here been given), we may safely say that Mr. Bowers is to be ranked with the very first tenor-vocalists of his time.

THE guitar, although not of sufficient power for general orchestral purposes, is yet excellent for finished solo-playing, and as an accompaniment to a voice. It was much used by the ancient troubadours, its dulcet tones according well with their songs. In Italy and Spain, in other parts of Europe, as well as in some sections of this country, the guitar is much esteemed. It has always been the favorite instrument of the serenading gallant; and to perform upon it, previously to their more general adoption of the piano-forte, was considered as an almost necessary accomplishment for the gentler sex. Among the greatest of guitar-virtuosos that have lived may be mentioned F. Sor, Fossa, Aguado, Giuliani, Carulli, Holland, Douglass: and, as comparing favorably with these, I may mention Demarest, of whom I shall now briefly speak.

Mr. Demarest, for many years a resident teacher of Boston, was one of the finest guitar-performers in theUnited States, and, I believe, had only a few equals in the world. With him the numerous guitar "pickers" of the country are not at all to be mentioned; for, thoroughly educated in music, with rich natural gifts all fully cultivated, giving to the instrument the closest, the most conscientious study, and of long practice, he was thus enabled to draw from it music of such richness and beauty, as few, before hearing his playing, imagined it capable. He but rarely indulged himself or his hearers in playing accompaniments to songs (the use, by the way, to which the guitar is often put); but with masterly skill he ever aimed to develop its fullest resources, and showed that, when in his hands at least, the guitar could be rendered a solo instrument of very noticeable power, as well as great sweetness of tone. At public and private performances in Boston and elsewhere, Mr. Demarest has often delighted audiences by fine interpretations of the best music published.

He was also a proficient arranger of music for the guitar, and, besides, composed some fine pieces for it. I do not know that any of his works were ever published: I think they were not; they being prepared simply to facilitate the progress of his pupils, and for his own amusement.

It is said that on one occasion a prominent guitarist,—a teacher of and writer for the guitar,—when asked to give his opinion of one of Demarest's compositions, remarked that it was "too difficult for the guitar." However this may have been, no one could say that it was too difficult for the composer to perform; and, that being true, it ought not to have been considered as beyond the possible reach of other skilful players. Still the critic referred to may only have meant by hisremark that the piece was too difficult to become "popular." I only mention the incident to show that Demarest always aimed high.

As a teacher of the guitar he took high rank with those who believed in advancing its performance to the most elevated standards. He found but few pupils, however, that were willing to give the instrument that closeness of study, or who were possessed with that spirit of patience, so necessary to render them remarkable performers. At the almost marvellously skilful manipulations of the strings by their teacher, they listened with the utmost delight; but some of them, regarding him as one exceptionally endowed, despaired of ever being able to follow him into those higher and fuller forms of guitar-playing whither he ever earnestly strove to lead them. He always insisted on a conscientious study of the instrument, and the practice of only the best music, in order that his pupils might place themselves on a much higher level than that occupied by the many who contented themselves with merely "thumping" a simple, unvaried accompaniment to the popular love-songs of the day.

Mr. Demarest was also a violinist of fair ability. In his performances on the violin he evinced the same scholarly spirit as he did in his other studies. He, however, but seldom performed upon the violin in public, and but little in private, save for his own diversion. In 1874, while still a young man, bidding fair to rise to the highest distinction as a musician, he died, deeply regretted by many, not more on account of his high musical than his gentlemanly, genial qualities.

HE is unquestionably and conspicuously the most wonderful musician the world has ever known. No one has ever equalled him in quickness and depth of musical insight and feeling, nor in the constancy with which he bears within himself, in all its fulness, that mysterious power which can be called by no truer name thanmusical inspiration. He is an absolute master in the comprehension and retention of all sound (and inallsoundhefinds music); a being in whose sympathetic soul lies the ready, the perfect correlative of every note of melody in nature or in art that is caught by his marvellously sensitive ear. We often speak of those who have an "ear for music." Here is a musician whosurpasses all others in all the world in the possession of this quality; for his is aperfectear. You may sit down to the piano-forte, and strike any note or chord or discord, or a great number of them; and he will at once give their proper names, and, taking your place, reproduce them. Complete master of the piano-forte keyboard, he calls to his melodious uses, with most consummate ease, all of its resources that are known to skilful performers, as well as constantly discovers and applies those that are new. Under his magnetic touch, this instrument may become, at his will, amusic-box, ahand-organ, aharpor abagpipe, a "Scotch fiddle," achurch-organ, aguitar, or abanjo: it may imitate the "stump speaker" as he delivers his glowing harangue; or, being brought back to its legitimate tones, it may be made to sing two melodies at once, while the performer with his voice delivers a third, all three in different time and keys, all in perfect tune and time, and each one easily distinguishable from the other! It would be vain to call such performances as these mere tricks. They are far, far more; since they show a musical intuition, and an orderly disposition and marshalling of the stores of the mind, quite beyond the powers of the performer of mere musical tricks. But, even were they such, this wonderful musician would not need to depend upon their performance for the greatness of his fame; for there is no work of the great masters too difficult for his easy comprehension and perfect rendering.

Thomas Greene Bethune

THOMAS GREENE BETHUNE.

He remembers and plays full seven thousand pieces. In short, he plays every piece that he has ever heard. How almost godlike (it cannot be brought to human comparison) is this retentive, thisperfectmemory, asrelating to all that is musical, or even unmusical, in sound!

Nor does he need to depend upon the music composed by others. His own soul is full of harmony, endless in variety, and most ravishing. Take from him, were it possible, all remembrance of the music written by others, and he would still be an object of delight and amazement on account of his matchless power in improvisation. Listen to his own "Rain Storm," and you shall hear, first, the thunder's reverberating peal, and anon the gentle patter of the rain-drops on the roof: soon they fall thick and fast, coming with a rushing sound. Again is heard the thunder's awful roar, while the angry winds mingle in the tempestuous fray,—all causing you to feel that a veritable storm rages without. After a while, the tempest gradually ceases; all is calmness; and you look with wonder upon this musical magician, and marvel that the piano-forte can be made to so closely imitate the sounds made by the angry elements.

No one lives, or, as far as we know, has ever lived, that can at all be compared with him. Only the musical heroes of mythology remind us of him; for he is

And Ariel, Shakspeare's child of fancy, who on Prospero's island constantly gave forth melodies of ever-varied, ever-enchanting sweetness, filling all the air with delicious harmony,—that musical spirit was but an anticipation of the coming of this actual wonder in music. Of him an eloquent writer has beautifully said, "There is music in all things; but 'Blind Tom' isthe temple wherein music dwells. He is a sort of door-keeper besides; and, when he opens the portals, music seems to issue forth to wake the soul to ecstasy." The skilful metaphysician or the psychologist pauses before him, completely balked: they cannot classify this mind, human-like indeed in some respects, yet in many others surpassing all humanity, and closely approximating that which is godlike.

Some persons, it is true, judging from certain manifestations of his, or from certain lack of manifestations, have had the temerity to say that "Blind Tom" is an idiot. Out with the idea! Who ever heard of an idiot possessing such power of memory, such fineness of musical sensibility, such order, such method, as he displays? Let us call him the embodiment, the soul, of music, and there rest our investigations; for all else is futility, all else is vain speculation.

Thus have I alluded in a general way to the characteristics of this most wonderful pianist. A more particular but brief sketch of his life from infancy to manhood cannot but be interesting, not only to the student in music, but to all classes of readers.

"Thomas Greene Bethune" (I am quoting from his biography), "better known to the public as 'Blind Tom,' was born within a few miles of the city of Columbus, Ga., on the twenty-fifth day of May, 1849. He is of pure negro blood, and was born blind. His first manifestation of interest in any thing was his fondness for sounds; the first indication of capacity, his power for imitating them. Musical sounds exerted a controlling interest over him; but all sounds, from the soft breathings of the flute to the harsh grating of the corn-sheller, appeared to afford him exquisite enjoyment. His power of judging of the lapse of time was as remarkable as his power of remembering and imitating sounds. Those who are familiar with clocks that strike the hours, have observed, that, a fewminutes before the clock strikes, there is a sharp sound different from and louder than the regular ticking. There was a clock in the house; and every hour in the day, just precisely when that sound was produced, Tom was certain to be there, and remain until the hour was struck."He exhibited his wonderful musical powers before he was two years old. When the young misses of the family sat on the steps of an evening, and sang, Tom would come around and sing with them. One of them one evening said to her father,—"'Pa, Tom sings beautifully; and he don't have to learn any tunes: he knows them all; for, as soon as we begin to sing, he sings right along with us.'"Very soon she said,—"'He sings fine seconds to any thing we sing.'"His voice was then strong, soft, and melodious. Just before he had completed his second year he had the whooping-cough, from the effects of which his voice underwent an entire change; it became and continued for years exceedingly rough and harsh, though it did not affect the taste or correctness of his singing."He was a little less than four years of age when a piano was brought to the house. The first note that was sounded, of course, brought him up. He was permitted to indulge his curiosity by running his fingers over and smelling the keys, and was then taken out of the parlor. As long as any one was playing, he was contented to stay in the yard, and dance and caper to the music; but the moment it ceased, having discovered whence the sounds proceeded, and how they were produced, he was anxious to get to the instrument to continue them. One night the parlor and the piano had been left open: his mother had neglected to fasten her door, and he had escaped without her knowledge. Before day the young ladies awoke, and, to their astonishment, heard Tom playing one of their pieces. He continued to play until the family at the usual time arose, and gathered around him to witness and wonder at his performance, which, though necessarily very imperfect, was marvellously strange; for, notwithstanding this was his first known effort at a tune, he played with both hands, and used the black as well as the white keys."After a while he was allowed free access to the piano, and commenced playing every thing he heard. He soon mastered all of that, and commenced composing for himself. He would sit at the piano for hours, playing over the pieces he had heard; then go out, and run and jump about the yard a little while, and come back and play something of his own. Asked what it was, he replied, 'It is what the wind said to me;' or, 'What the birds said to me;' or, 'What the trees said to me;' or what something else said to him. No doubt what he was playing was connected in his mind with some sound, or combination of sounds, proceeding from those things; and not unfrequently the representation was so good as to render the similarity clear to others."There was but one thing which seemed to give Tom as much pleasure as the sound of the piano. Between a wing and the body of the dwelling there is a hall, on the roof of which the rain falls from the roof of the dwelling, and runs thence down a gutter. There is, in the combination of sounds produced by the falling and running water, something so enchanting to Tom, that from his early childhood to the time he left home, whenever it rained, whether by day or night, he would go into that passage, and remain as long as the rain continued. When he was less than five years of age, having been there during a severe thunder-storm, he went to the piano and played what is now known as his 'Rain Storm,' and said it was what the rain, the wind, and the thunder said to him. The perfection of the representation can be fully appreciated by those only who have heard the sounds by the falling of the water upon the roofs, and its running off through the gutters."There was in the city of Columbus a German music-teacher who kept pianos and music for sale. The boys about the city, having heard much of Tom, sometimes asked the boys of the family to take him to town, that they might hear him. Upon these occasions they asked permission of this man to use one of his pianos; and, though he would grant the permission, he would not hear him. If he was engaged, he would send them to the back part of the store, which was a very deep one; if he had nothing to do, he would walk out into the street. When Tom was about eight years of age, a gentleman, having obtained permission to exhibit him, hired a piano of this man, and invited him to visit his concert. He indignantly rejected the invitation."The man, however, succeeded in awakening the curiosity of the wife of the musician sufficiently to induce her to attend; and she gave her husband such accounts, that he went the next night. After the performance was over, he approached the man, and said,—"'Sir, I give it up: the world has never seen such a thing as that little blind negro, and will never see such another.'"Encouraged by this, the exhibiter the next day applied to him to undertake to teach Tom. His reply then was,—"'No, sir; I can't teach him any thing: he knows more of music than we know, or can learn. We can learn all that great genius can reduce to rule and put in tangible form: he knows more than that. I do not even know what it is; but I see and feel it is something beyond my comprehension. All that can be done for him will be to let him hear fine playing: he will work it all out by himself after a while; but he will do it sooner by hearing fine music.'"It has been stated that Tom was born blind. In his infancy and for years the pupils of his eyes were as white and apparently as inanimate as those of a dead fish. But nature pointed out to him a remedy which gradually relieved him from total darkness, and in process of time conferred upon him, to a limited extent, the blessings of vision."When he was three or four years of age, it was observed that he passed most of his time with his face upturned to the sun, as if gazing intently upon it, occasionally passing his hand back and forth with a rapid motion before his eyes. That was soon followed by thrusting his fingers into his eyes with a force which appeared to be almost sufficient to expel the eyeballs from their sockets. From this he proceeded to digging into one of them with sticks, until the blood would run down his face. All this must have been pleasant to him, or he would not have done it; and there is no doubt that he is indebted to the stimulus thus applied to his eyes for the measure of sight he now enjoys. When five or six years of age, a small, comparatively clear speck appeared in one of his eyes; and it was discovered that within a very small space he could see any bright object. That eye has continued to clear, until he is now able to see luminous bodies at a distance, and can distinguish small bodies by bringing them close to his eye. Persons that heknows well he can distinguish at the distance of a few feet; and it is hoped that in process of time his sight will so far improve as to relieve him from many of the difficulties to which he is subject."The mere technicalities of music Tom learns without difficulty. Its substance he seems to comprehend intuitively. To teach him the notes, it was necessary only to sound them, and tell him their names. With the elements and principles of music he seemed to be familiar long before he knew any of the names by which they were indicated; as a man going into a strange country may be perfectly acquainted with the appearance and nature of the material objects which meet his view, without knowing the names applied to them by the people."Considering that in early life he learned nothing, and later but little from sight, that he is possessed by an overmastering passion, which so pervades his whole nature as to leave little room for interest in any thing else, and the gratification of which has been indulged to the largest extent, it is not surprising that to the outside world he should exhibit but few manifestations of intellect as applicable to any of the ordinary affairs of life, or that those who see him only under its influence should conclude that he is idiotic."The elegance, taste, and power of his performances, his wonderful power of imitation, his extraordinary memory,—not only of music, but of names, dates, and events,—his strict adherence to what he believes to be right, his uniform politeness, and his nice sense of propriety, afford, to those who know him well, ample refutation of this opinion."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 amusements 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 space, heput 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 principal cities of England and Scotland.... Those who have observed him most closely, and attempted to investigate him, pronounce him a 'living miracle,' unparalleled, incomprehensible, such as has not been seen before, and probably will never be seen again."

"He exhibited his wonderful musical powers before he was two years old. When the young misses of the family sat on the steps of an evening, and sang, Tom would come around and sing with them. One of them one evening said to her father,—

"'Pa, Tom sings beautifully; and he don't have to learn any tunes: he knows them all; for, as soon as we begin to sing, he sings right along with us.'

"Very soon she said,—

"'He sings fine seconds to any thing we sing.'

"His voice was then strong, soft, and melodious. Just before he had completed his second year he had the whooping-cough, from the effects of which his voice underwent an entire change; it became and continued for years exceedingly rough and harsh, though it did not affect the taste or correctness of his singing.

"He was a little less than four years of age when a piano was brought to the house. The first note that was sounded, of course, brought him up. He was permitted to indulge his curiosity by running his fingers over and smelling the keys, and was then taken out of the parlor. As long as any one was playing, he was contented to stay in the yard, and dance and caper to the music; but the moment it ceased, having discovered whence the sounds proceeded, and how they were produced, he was anxious to get to the instrument to continue them. One night the parlor and the piano had been left open: his mother had neglected to fasten her door, and he had escaped without her knowledge. Before day the young ladies awoke, and, to their astonishment, heard Tom playing one of their pieces. He continued to play until the family at the usual time arose, and gathered around him to witness and wonder at his performance, which, though necessarily very imperfect, was marvellously strange; for, notwithstanding this was his first known effort at a tune, he played with both hands, and used the black as well as the white keys.

"After a while he was allowed free access to the piano, and commenced playing every thing he heard. He soon mastered all of that, and commenced composing for himself. He would sit at the piano for hours, playing over the pieces he had heard; then go out, and run and jump about the yard a little while, and come back and play something of his own. Asked what it was, he replied, 'It is what the wind said to me;' or, 'What the birds said to me;' or, 'What the trees said to me;' or what something else said to him. No doubt what he was playing was connected in his mind with some sound, or combination of sounds, proceeding from those things; and not unfrequently the representation was so good as to render the similarity clear to others.

"There was but one thing which seemed to give Tom as much pleasure as the sound of the piano. Between a wing and the body of the dwelling there is a hall, on the roof of which the rain falls from the roof of the dwelling, and runs thence down a gutter. There is, in the combination of sounds produced by the falling and running water, something so enchanting to Tom, that from his early childhood to the time he left home, whenever it rained, whether by day or night, he would go into that passage, and remain as long as the rain continued. When he was less than five years of age, having been there during a severe thunder-storm, he went to the piano and played what is now known as his 'Rain Storm,' and said it was what the rain, the wind, and the thunder said to him. The perfection of the representation can be fully appreciated by those only who have heard the sounds by the falling of the water upon the roofs, and its running off through the gutters.

"There was in the city of Columbus a German music-teacher who kept pianos and music for sale. The boys about the city, having heard much of Tom, sometimes asked the boys of the family to take him to town, that they might hear him. Upon these occasions they asked permission of this man to use one of his pianos; and, though he would grant the permission, he would not hear him. If he was engaged, he would send them to the back part of the store, which was a very deep one; if he had nothing to do, he would walk out into the street. When Tom was about eight years of age, a gentleman, having obtained permission to exhibit him, hired a piano of this man, and invited him to visit his concert. He indignantly rejected the invitation.

"The man, however, succeeded in awakening the curiosity of the wife of the musician sufficiently to induce her to attend; and she gave her husband such accounts, that he went the next night. After the performance was over, he approached the man, and said,—

"'Sir, I give it up: the world has never seen such a thing as that little blind negro, and will never see such another.'

"Encouraged by this, the exhibiter the next day applied to him to undertake to teach Tom. His reply then was,—

"'No, sir; I can't teach him any thing: he knows more of music than we know, or can learn. We can learn all that great genius can reduce to rule and put in tangible form: he knows more than that. I do not even know what it is; but I see and feel it is something beyond my comprehension. All that can be done for him will be to let him hear fine playing: he will work it all out by himself after a while; but he will do it sooner by hearing fine music.'

"It has been stated that Tom was born blind. In his infancy and for years the pupils of his eyes were as white and apparently as inanimate as those of a dead fish. But nature pointed out to him a remedy which gradually relieved him from total darkness, and in process of time conferred upon him, to a limited extent, the blessings of vision.

"When he was three or four years of age, it was observed that he passed most of his time with his face upturned to the sun, as if gazing intently upon it, occasionally passing his hand back and forth with a rapid motion before his eyes. That was soon followed by thrusting his fingers into his eyes with a force which appeared to be almost sufficient to expel the eyeballs from their sockets. From this he proceeded to digging into one of them with sticks, until the blood would run down his face. All this must have been pleasant to him, or he would not have done it; and there is no doubt that he is indebted to the stimulus thus applied to his eyes for the measure of sight he now enjoys. When five or six years of age, a small, comparatively clear speck appeared in one of his eyes; and it was discovered that within a very small space he could see any bright object. That eye has continued to clear, until he is now able to see luminous bodies at a distance, and can distinguish small bodies by bringing them close to his eye. Persons that heknows well he can distinguish at the distance of a few feet; and it is hoped that in process of time his sight will so far improve as to relieve him from many of the difficulties to which he is subject.

"The mere technicalities of music Tom learns without difficulty. Its substance he seems to comprehend intuitively. To teach him the notes, it was necessary only to sound them, and tell him their names. With the elements and principles of music he seemed to be familiar long before he knew any of the names by which they were indicated; as a man going into a strange country may be perfectly acquainted with the appearance and nature of the material objects which meet his view, without knowing the names applied to them by the people.

"Considering that in early life he learned nothing, and later but little from sight, that he is possessed by an overmastering passion, which so pervades his whole nature as to leave little room for interest in any thing else, and the gratification of which has been indulged to the largest extent, it is not surprising that to the outside world he should exhibit but few manifestations of intellect as applicable to any of the ordinary affairs of life, or that those who see him only under its influence should conclude that he is idiotic.

"The elegance, taste, and power of his performances, his wonderful power of imitation, his extraordinary memory,—not only of music, but of names, dates, and events,—his strict adherence to what he believes to be right, his uniform politeness, and his nice sense of propriety, afford, to those who know him well, ample refutation of this opinion.

"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 amusements 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 space, heput 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 principal cities of England and Scotland.... Those who have observed him most closely, and attempted to investigate him, pronounce 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 yourprotégé, 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 apower 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.

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 yourprotégé, 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 apower and capacity ranking him among the most wonderful phenomena recorded in musical history.

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

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 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,—

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