VII.

"THE LUCA FAMILY."This company of singers, consisting of four [three] brothers and their mother, gave a concert at Ringueberg Hall last (Monday) evening; and their performance was such as to elicit the enthusiastic approval of all present. Coming among us as strangers, their merits were not generally understood; and we presume that the entire audience were agreeably disappointed in the entertainment presented. We hazard nothing in saying that we have not had in our place for years a concert which combined all the elements that please the musical ear, and satisfy the cultivated taste, as did this. The introductory piece, 'Fantasia,' from Lucia,evinced the highest order of musical culture, the most excellent taste, with that superior power of execution which long practice only gives. The two brothers John and Alexander have superb voices, guided by a correct knowledge of music, and enriched by cultivation. Madame Luca was laboring under indisposition; but she sang well, and gave abundant assurance of superior vocal powers. But the great feature of the entertainment was the performance of C.O. Luca on the piano. With the exception of the celebrated Mason, we have never had his superior as a pianist in Lockport; and even he could not execute the pieces presented with greater effect. There is music in his playing which we seldom hear from the piano. It is not simply the striking of the keys in order, emitting a succession of musical sounds; but it is one continual flow of melody without interruption. From the moment he first strikes the keys, the harmonious melody gushes forth, note melts into note imperceptibly, wave after wave of melody goes forth and mingles into one as do the waves of the sea; and there is no breaking of the majesty of its harmony until the last note is touched."The family, as has been before announced, are colored, and consequently labor under some disadvantages; but we predict for them a successful future. Such superior musical powers must win for them a reputation that will bring its recompense. The pieces they sing are selected with good taste, and evince a determination to deserve public favor. And we may here say, that we believe the Luca family, in the quiet and unostentatious display of their musical powers, are doing more to secure position for the colored man than all the theorists and speculators about the right of man have yet accomplished in America. The possession of such talent, and its cultivation, show genius and industry which any man might emulate; and, when the colored men shall be represented in all the arts and sciences by those who are able to occupy front ranks, they will need no moralist to assert their rights: they can then maintain their own position. The human mind is so constituted, that it will always pay homage to genius, let it be exhibited under a white or black surface."A large number of the audience joined in a request that the Luca family repeat their concert; and they have consented to do so on Friday evening next, when we hope to see an audience outworthy of their superior merits. In the mean time we commend the Luca family to the press wherever they shall go, as every way worthy of their aid and indorsement."

"THE LUCA FAMILY.

"This company of singers, consisting of four [three] brothers and their mother, gave a concert at Ringueberg Hall last (Monday) evening; and their performance was such as to elicit the enthusiastic approval of all present. Coming among us as strangers, their merits were not generally understood; and we presume that the entire audience were agreeably disappointed in the entertainment presented. We hazard nothing in saying that we have not had in our place for years a concert which combined all the elements that please the musical ear, and satisfy the cultivated taste, as did this. The introductory piece, 'Fantasia,' from Lucia,evinced the highest order of musical culture, the most excellent taste, with that superior power of execution which long practice only gives. The two brothers John and Alexander have superb voices, guided by a correct knowledge of music, and enriched by cultivation. Madame Luca was laboring under indisposition; but she sang well, and gave abundant assurance of superior vocal powers. But the great feature of the entertainment was the performance of C.O. Luca on the piano. With the exception of the celebrated Mason, we have never had his superior as a pianist in Lockport; and even he could not execute the pieces presented with greater effect. There is music in his playing which we seldom hear from the piano. It is not simply the striking of the keys in order, emitting a succession of musical sounds; but it is one continual flow of melody without interruption. From the moment he first strikes the keys, the harmonious melody gushes forth, note melts into note imperceptibly, wave after wave of melody goes forth and mingles into one as do the waves of the sea; and there is no breaking of the majesty of its harmony until the last note is touched.

"The family, as has been before announced, are colored, and consequently labor under some disadvantages; but we predict for them a successful future. Such superior musical powers must win for them a reputation that will bring its recompense. The pieces they sing are selected with good taste, and evince a determination to deserve public favor. And we may here say, that we believe the Luca family, in the quiet and unostentatious display of their musical powers, are doing more to secure position for the colored man than all the theorists and speculators about the right of man have yet accomplished in America. The possession of such talent, and its cultivation, show genius and industry which any man might emulate; and, when the colored men shall be represented in all the arts and sciences by those who are able to occupy front ranks, they will need no moralist to assert their rights: they can then maintain their own position. The human mind is so constituted, that it will always pay homage to genius, let it be exhibited under a white or black surface.

"A large number of the audience joined in a request that the Luca family repeat their concert; and they have consented to do so on Friday evening next, when we hope to see an audience outworthy of their superior merits. In the mean time we commend the Luca family to the press wherever they shall go, as every way worthy of their aid and indorsement."

During their second tour of Ohio, in 1859, the "Lucas" met and joined the famous Hutchinson family, giving many entertainments in conjunction with them. The Hutchinsons thus proved the entire sincerity of their professions that they loved their brother man "for a' that." The press of the country was much excited over this novel union, and the expressions emanating from the former were various. Without, however, minding the pros or cons, these two troupes travelled more than a month together, experiencing a pleasurable and profitable season.

I append below two advertisements of concerts given by these troupes at the time mentioned:—

(I.)

Hutchinson ad

THE HUTCHINSON FAMILY,ASA B., LIZZIE C., and LITTLE FREDDY;with theLUCA BROTHERS,JOHNandALEXANDER,andCLEVELAND,The Wonderful Pianist!Humor, Sentiment, and Opera!From the established reputation of both these companies, a raretreat may be expected.

THE HUTCHINSON FAMILY,

ASA B., LIZZIE C., and LITTLE FREDDY;

with the

LUCA BROTHERS,

JOHNandALEXANDER,andCLEVELAND,

The Wonderful Pianist!

Humor, Sentiment, and Opera!

From the established reputation of both these companies, a raretreat may be expected.

(II.)

Hutchinson ad

BySpecial Arrangements,THE HUTCHINSONSwill be assisted at theirCONCERTin this place by theLUCA FAMILY,with theirWonderful Pianist!

BySpecial Arrangements,

THE HUTCHINSONS

will be assisted at their

CONCERT

in this place by the

LUCA FAMILY,

with their

Wonderful Pianist!

As a reflection of the terrible, the foul spirit of caste, then so largely prevailing, I regret that it is my duty to append the following elegant (?) extract from a paper published at Fremont, O., Feb. 25, 1859:—

"The Hutchinsons,—Asa B., Lizzie C., and little Freddy,—accompanied by the Luca family, gave a concert at Birchard Hall on last Wednesday evening. The house was not more than a paying one. When we went to the concert, we anticipated a rare treat; but, alas! how wofully were we disappointed!... We have, perhaps, a stronger feeling of prejudice than we should have felt under other circumstances, had their abolition proclivities been less startling; but to see respectable white persons (we presume they are such) travelling hand in hand with a party of negroes, and eating at the same table with them, is rather too strong a pill to be gulped down by a democratic community."

No doubt the writer of the above, if now living, would be ashamed to utter sentiments so uncharitable and so vile.

But as an evidence of honest criticism, and in pleasing contrast with the foregoing, I give the following.

"The Norwalk (O.) Reflector," March 1, 1859, says,—

"The concert given in this place on Saturday night last by the Hutchinsons and Lucas was among the best musical entertainments ever given here. The audience was large, and the artists sang with spirit."Where all sang so well, it is difficult to select the best.... The Lucas are charming musicians, both instrumental and vocal; and, when two such companies unite, there will be superior concerts."

"Where all sang so well, it is difficult to select the best.... The Lucas are charming musicians, both instrumental and vocal; and, when two such companies unite, there will be superior concerts."

A Sandusky (O.) paper, March 1, 1859, says,—

"The Hutchinsons and Lucas sang to quite a full audience at West's Hall last evening. The performance could not, coming from troupes possessing talent varied and of the higher order, be otherwise than good. These bands, when they united, made a palpable hit. Their combined concerts are almost invariably successes."

A Wooster (O.) paper, February, 1859, says,—

"The Hutchinsons and Lucas—these two celebrated troupes—will give together one of their unrivalled entertainments at Arcadame Hall on Saturday evening next. They are spoken of in the highest terms by the press in different directions. Both troupes have been in Wooster before; so that it is unnecessary for us to speak of them favorably. The hall will undoubtedly be filled."

A Cleveland (O.) paper, Feb. 28, 1859, says,—

"The well-known Luca family are now giving concerts in connection with Asa B., Lizzie C., and little Freddy Hutchinson, of the Hutchinson family; and their performances are highly spoken of by Western exchanges. They perform in Elyria on Tuesday evening; and will soon appear in this city, we understand."

Shortly after the return of the Luca family from the tour with the Hutchinsons, Cleveland the pianist, with a noble aim, resolved to go to Africa. This circumstance caused the disbandment of the troupe.

Their father has resided for a long time at Zanesville, O., where, although quite advanced in years, he is still esteemed as a vocalist, singing in a church choir, and where he enjoys the respect of all for his many good qualities of heart and mind.

His two sons, John and Alexander, are now, as ever, devoted to the art of music; the former being a valuable member of the celebrated Hyer sisters concert and dramatic troupe, while the latter is vocal director of another company.

As a fitting close to this sketch, as a corroboration of my own testimony, and as an evidence of the noble qualities possessed by that rare musician and Christian gentleman, Asa B. Hutchinson, I add the following beautiful tribute from his pen:—

Geneva, O., Dec. 15, 1875.In regard to our dear friends the Lucas, I am glad to state that it was our pleasure to associate with them in public concerts "in the cruel days of the prejudiced past;" and this is our testimony: that, in all our concertizing for thirty-five years, we never formed an alliance with any musical people with whom we fraternized so pleasantly, and loved so well, and who evinced so much real genuine talent in their profession, and such courtesy and Christian culture "in their daily walk and conversation." Our dear lamented Cleveland was a thoroughly educated pianist, and won the enthusiastic admiration of the scientific musicians in every city and town we visited. He executed most rapidly, at sight, any and all of the difficult and new compositions that were presented to him by his friends, to their astonishment and our mutual joy; and when the three brothers, "Alex.," John, and Cleveland, united their respective instruments and voices in one grand choral, the effect was intensely thrilling and electrical. In some of our concerted pieces, where they united with us, we carried our reformatory sentiments and songs to a successful termination; and, notwithstanding the then great and bitter prejudice of our audiencesagainst us all for daring thus publicly to associate together, they cheered our combined efforts with loud applause and frequent encores.And now that each of our bands are broken by death, still believing that the freed spirits of the departed loved ones are re-united in "singing the songs of the redeemed" in that realm of light, liberty, and love beyond, it is a great satisfaction to me, a poor lingering pilgrim, to revert to one of the sweetest experiences of our entire concert-life,—the acquaintance and fellowship of the Luca family.Asa B. Hutchinson.

Geneva, O., Dec. 15, 1875.

In regard to our dear friends the Lucas, I am glad to state that it was our pleasure to associate with them in public concerts "in the cruel days of the prejudiced past;" and this is our testimony: that, in all our concertizing for thirty-five years, we never formed an alliance with any musical people with whom we fraternized so pleasantly, and loved so well, and who evinced so much real genuine talent in their profession, and such courtesy and Christian culture "in their daily walk and conversation." Our dear lamented Cleveland was a thoroughly educated pianist, and won the enthusiastic admiration of the scientific musicians in every city and town we visited. He executed most rapidly, at sight, any and all of the difficult and new compositions that were presented to him by his friends, to their astonishment and our mutual joy; and when the three brothers, "Alex.," John, and Cleveland, united their respective instruments and voices in one grand choral, the effect was intensely thrilling and electrical. In some of our concerted pieces, where they united with us, we carried our reformatory sentiments and songs to a successful termination; and, notwithstanding the then great and bitter prejudice of our audiencesagainst us all for daring thus publicly to associate together, they cheered our combined efforts with loud applause and frequent encores.

And now that each of our bands are broken by death, still believing that the freed spirits of the departed loved ones are re-united in "singing the songs of the redeemed" in that realm of light, liberty, and love beyond, it is a great satisfaction to me, a poor lingering pilgrim, to revert to one of the sweetest experiences of our entire concert-life,—the acquaintance and fellowship of the Luca family.

Asa B. Hutchinson.

"Thy purpose firm is equal to the deed.""His lyre well tuned to rapturous sounds."

AWRITER in "The Progressive American" for July 17, 1872, said,—

"Having occasion to visit Boston, I attended one of the unrivalled concerts at the Coliseum, where, to my great astonishment, I saw undoubtedly the greatest assemblage of human beings ever congregated under one roof, and heard a chorus of nearly or quite twenty thousand voices, accompanied by the powerful organ and an orchestra of two thousand musicians. I was highly delighted. But what gave me the most pleasure was to see among some of the most eminent artists of the world two colored artists performing their parts in common with the others; viz., Henry F. Williams and F.E. Lewis. Each of these was competent to play his part, or he could not have occupied a place in the orchestra. I was informed by the superintendent of the orchestra that both these man were subjected to a very rigid examination prior to the commencement of the concerts."

Henry F. Williams

HENRY F. WILLIAMS.

The pleasure afforded this writer, by witnessing our subject's appearance on the memorable occasion referredto, was shared by many other persons who were able to distinguish him in that vast concourse of fine musicians. It was not so easy to distinguish him from the others by his complexion as it was by his dignified, graceful appearance. Of this, as well as of Mr. Williams's musical skill, the organizer of the great orchestra, Mr. Baldwin, has, since the event, spoken to me in terms the most complimentary. He said it was not more Mr. Williams's good playing, than his handsome, manly appearance in the orchestra, that afforded him pleasure; and that in both of these particulars Mr. Williams stood in favorable contrast with many other members of the orchestra. This was high praise indeed, but no higher than its recipient deserved, as all will testify who know him.

As stated in the extract just quoted, Mr. Williams, before being accepted as a member of the Jubilee orchestra, was subjected to a severe test; being required to execute on the double-bass the parts written for that instrument in the celebrated overture from "William Tell," and also in Wagner's difficult "Tannhäuser." In regard to this test Mr. Baldwin has since said to the writer, "I myself had no doubts as to Mr. Williams's ability as a musician. My object in arranging the test performance was, that I might afterwards point to its successful result, and thus silence many of the instrumentalists that came from other parts of the country, in case they should object (I knew that many of them would do so), on the weak ground ofcolor, to playing with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra wasgood musicians, and, when any one objected to our two colored performers, we triumphantly referred to the exacting and satisfactory test they had undergone as sufficient answer to the foolish clamors of all those afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus resolved, and convinced that the two colored men were artistic performers,—superior in ability to many with whom they were to be associated,—no one declined to play; and all was harmony thereafter."

And here I may be permitted to record the thanks of all well-meaning people for the noble action of Messrs. Gilmore and Baldwin. The two artists mentioned were not the only members of their race who took a part in the memorable Jubilee concerts. Several others in a vocal way occupied even prominent positions at these concerts. Some sang as artists on the stage, and several were members of that great chorus of nearly twenty thousand voices. In all these places they did their share in making the occasion a grand success, while they justified fully the wisdom of those by whom they were invited to participate. The action of the latter was no more than what was due and right, it is true; but it is well to remember (for we must take things as we find them) that Messrs. Gilmore and Baldwin were not obliged to engage these persons. Had the former not been men of pure principles and firmness, they might have yielded to the mean and by far too popular prejudice entertained against colored people, and have refused to allow them to take part in the performances. That they did not thus yield is much to their credit as musicians and gentlemen; and they are to be thanked, I say, for their manly action.

The little ripple of excitement caused by Mr. Williams's appearance among the musicians of the Jubileemight well have provoked from that gentleman a smile of contempt; for he was a far older and much more skilful performer than many who at first objected to playing with him. He had, indeed, more than thirty years of musical experience behind him,—years which were full of manly, persevering struggle against great odds, and years during which he had many times triumphed over opposition far greater than that met by him at the Coliseum. Born in Boston Aug. 13, 1813, beginning his studies when but seven years of age, he had, mainly by his own efforts (he is in the truest sense a "self-made man"), become a thorough musician; was a superior performer on the violin, double-bass, and the cornet; a fair performer on the viola, violoncello, baritone, trombone, tuba, and piano-forte; having been besides for years an esteemed teacher of most of these instruments. Nor did his musical powers stop here; for in addition to being a skilful arranger of music for the instruments just mentioned, and others, he was a composer, many of whose works bore the imprint of several of the most eminent music publishers of the day. Learning these facts, no wonder that those who at first opposed Mr. Williams's entrance into the grand orchestra (these persons, by the way, were not residents of Boston, but came from the West and South) afterwards were ashamed of their foolish prejudices, and became his warm admirers.

Mr. Williams, as an instrumentalist, devotes himself especially to the violin and the cornet. Upon these he executes in a superior manner the finest music of the day. Possessing fine natural talents, of great versatility, and of long study and experience, he is enabled to play any kind of music; passing with the utmost ease fromthe "light fantastic" of the dance to the grave and profound of the old masters: in either kind he is always noticeable for the finish and tastefulness of his performance. He has given much of his time to the formation and instruction of military bands, frequently arranging and composing music for them. In the former capacity—that of arranging music—he has often been employed by P.S. Gilmore, director of the celebrated Gilmore's Band, and projector of the two great Peace Jubilees. He was at one time connected with the famous "Frank Johnson's band" of Philadelphia, and of several others in the West, travelling extensively, and giving instruction in music. A short while ago, the manager of the Boston Cadet Band—successors of Gilmore's—showed me a quickstep in manuscript, of the merits of which he spoke very highly, composed by Mr. Williams for the first-mentioned band.

The following is only a partial list of the many songs (words as well as the music his own) of which our subject is the author:—

"Lauriette," published by Firth & Pond, New York, 1840; "Come, Love, and list awhile," published by Pond & Hall, New York, 1842; "It was by Chance we met," published by O. Ditson & Co., Boston, 1866; "I would I'd never met Thee," published by O. Ditson & Co., Boston, 1876.

Of the above, "Lauriette" had a large sale, thepublishersrealizing a considerable profit from the same. In 1854 O. Ditson & Co. published his "Parisien Waltzes." These are a set in five numbers, with a fine introduction, and containing some very bright and sweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation.Besides the above, Mr. Williams has composed eight or ten polka-redowas, and several mazurkas and quadrilles (some of these have been published); and he is the author of several overtures.

Early in his career he composed an anthem which was much praised by persons of musical judgment. At that time so greatly was the judgment of people affected by color-prejudice, that many persons doubted the ability of one of his race to create a work so meritorious as the one just mentioned. They were, however, soon compelled to admit that Mr. Williams was the talented author of it.

Lowell Mason, the eminent composer of sacred music, was one of those who at first entertained doubts as to the authorship of the anthem; and he, like the others, finally yielded to stubborn facts. Moreover, becoming acquainted with our subject, and learning more of his fine abilities as a musician, Mr. Mason remarked that it was a pity one so talented should be kept down merely on account of the color of his face. I am sorry to say, nevertheless, that this gentleman could rise no higher above the common level of that day than to advise Mr. Williams to go to Liberia. Had Mr. Mason, who was so original and bold in music, been only half as bold in creating a sensible, a humane public sentiment; had he, as he looked with pity upon this gifted and devoted young musician struggling against the ignoble spirit of caste to gain a place in art, thrown his great influence on the side of what he confessed was right; and had he, instead of advising Mr. Williams toburyhimself in Africa, declared that the latter should have an equal chance with others inthiscountry in developing his musical powers,—had Mr. Mason donethis, I say, I feel sure that such encouragement, coming in the very "nick of time," would have resulted in placing the subject of this sketch far above even his present excellent position as a musician, while such noble action on the part of Mr. Mason might to-day be considered as an additional gem in the latter's confessedly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dislike to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promoters; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written several overtures: one of these was for the orchestra of the famous Park Theatre. At present he is constantly engaged in arranging and composing music.

In concluding this brief sketch, which I fear falls short of doing its subject justice, I will only add, that in the remarkably fine achievements he has made under circumstances and against difficulties that would have caused many to falter, indeed, to yield in despair,—chief among these difficulties being the hateful, terrible spirit ofcolor-prejudice, that foul spirit, the full measure of whose influence in crushing out the genius often born in children of his race it is difficult to estimate,—in Mr. Williams's triumphs in a great degree against all these, I say, is presented an instance of art-love, and of manly, persevering devotion, that is truly heroic. Falling short, as he does, of an eminence, that, had he been born with a fairer complexion, would ere this have been his, his life is yet a grand example to those younger members of his race who are beginning their careers inthe world of music when fairer skies light their pathway; when the American people, regretting the depressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement toallwho exhibit musical talents, and evince a conscientious desire to improve the same. Mr. Williams may remember with pride that to this gratifying result he has in a very marked degree contributed; and that therefore, in spite of some disappointments, his musical life has really been a noble success.

No life can be called a truly great one that has not been a truly good one: a very simple saying, and one which, however trite, yet requires frequent repeating, since its importance is but too seldom considered. And the noble fame that sooner or later surely attaches to the author of such a life belongs chiefly, but not entirely, to him; it being in part, in a certain sense, the property of all who would follow in his footsteps, becoming for them an inspiring example; its history, with all its experiences of hope and fear, its occasional failures but frequent successes, its struggles when environed by poverty or other untoward circumstances, and its final triumph over all obstacles, serving as a guide,a beacon indeed, to illumine their pathway as they climb the same difficult but glorious hills of honor.

Justin Holland

JUSTIN HOLLAND.

But such renown comes oftenest to those who seek it not,—to those who perform the right for the sake of right. These are they who

"Do good by stealth, and blush to find it fame."

Thoughts very similar to those just expressed are such as will naturally enter the minds of all who contemplate the history of Justin Holland, the distinguished musician. A mere outline of that interesting history is all that can here be given.

But first let me say, that if a little while ago, when arranging the title for this sketch, the writer had been quite sure that in placing after the name of the person to be treated a certain single word,—which really is one of very extensive meaning, although not always so used or understood,—had he been sure that from that word the general reader would have formed a complete idea of this artist's very varied accomplishments, then the heading would have been simply, "Justin Holland, musician." But judging that such brevity, however desirable in some respects, might yet fail in doing justice to one whose great native talents, joined to remarkable attainments made during a life of most industrious endeavor, entitle him to very particular mention from first to last, I have thought it best to state in detail the several departments of the musical art in which he has won the rarest of laurels.

I am not quite certain, though, that such minute mention will be pleasant to Mr. Holland; for I learn that he is as modest as he is learned, and that he has always had a sort of aversion to having his name appear inprint at all, albeit during his long career in music it has thus appeared many times, in spite of said aversion, and always most honorably. But when he shall read these pages, on which nought shall be set down save with a regard for truth, and shall perceive by them, that while he steadily, quietly, and effectively worked for many years, with no attempts at ostentatious display, scarcely looking up the while to observe the outer results of his work, and to catch for inspiration the praises of men; when he shall see in his now mature years that all he so noiselessly invented, and fashioned into practical, useful form, is regarded by a well-meaning chronicler as of vast importance in serving as a noble example for the study and imitation of the youth of the land, and therefore to be faithfully recorded,—then it is hoped he will pardon the somewhat free but well-intentioned use that is here made of his name and deeds.

Mr. Holland was born in 1819 amidst the then "solitudes" of Norfolk County, Va. His father, Exum Holland, was a farmer. When quite a young child, Justin evinced a very decided fondness for music. But, nearly sixty years ago, a farm-life in Virginia, ten miles from any town, as may be imagined, afforded but poor opportunities for either hearing or learning music. Such opportunities, however, as were within reach, our subject very eagerly embraced. It is related of him, that, when less than fourteen years of age, he was in the habit of walking on Sundays to a log meeting-house five miles away, and there listening to and joining in such music (?) as was at that time discoursed in such places. But previously to this, when only a boy of eight years, he accidentally came into possession of an old song-book with words only. Being much delighted with this, heoften perched himself upon a rail-fence, quite removed from the farm-house and all chance of interruption, where he sang and heartily enjoyed the songs, the music for which this would-be musician extemporized. Years afterward it was found that some of the tunes he thus early invented, and which he retained in his memory, were equal if not superior in merit to those that really belonged to the songs in the book mentioned. Thus was Holland almost born with the composer's art.

When about fourteen years old, Justin left Virginia, and went to Boston; from whence he shortly afterwards removed, going to Chelsea, Mass. Here he spent his youth and several years of his manhood. A short while after becoming a resident of Chelsea, he determined to study in earnest the science of music. At this time he happened to become acquainted with Señor Mariano Perez, a Spanish musician, and one of a troupe that was performing at the old Lion Theatre on Washington Street in Boston. He had many opportunities for hearing Perez play upon the guitar. The richness and beauty of melody and harmony, and the unsurpassed variety and fineness of expression, that were evolved from this beautiful instrument by this master-performer, so charmed Holland, that he decided to give his chief attention to the study of the guitar. Not that he then dreamed of ever becoming a teacher or professor of the instrument: he wished to learn music simply for his own amusement. His first music-teacher was Mr. Simon Knaebel, who was a member of "Ned" Kendall's famous brass band, and who enjoyed a high reputation as an arranger of music. After a while he began lessons with Mr. William Schubert, also a member of Kendall's band,and a correct and brilliant performer on the guitar. Under this teacher our subject soon made rapid progress, becoming a favorite pupil from his ability to play duets with his instructor; the latter being very fond of that kind of music. He afterwards made fine progress with the eight-keyed flute, taking lessons on this instrument from a Scotch gentleman by the name of Pollock. During all this time, it must be borne in mind that our zealous young student was unaided by any one in defraying the great expense incurred in pursuing his studies. He had to depend upon his own hard earnings. Besides, he had no time for practice save that taken from the hours usually devoted to sleep.

In 1841 (his age was then twenty-two years), desiring more education than his hitherto limited opportunities had allowed him to obtain, he went to that noble institution, Oberlin College, where, feeling anxious to make up for all time lost, he diligently pursued his studies, and made rapid advancement. In 1844 his progress had been so good, that we find him one of the authors of a book of three hundred and twenty-four pages on certain subjects of moral reform. In 1845 Mr. Holland went to Cleveland, O., then only a small city of less than nine thousand inhabitants. While prospecting in Cleveland for something to do, it was found that he was an amateur performer on the guitar, playing the best music with a fine degree of proficiency. This brought him applications to give lessons to members of some of the first families in the city, and caused him to make Cleveland his permanent home. His character had now become finely formed, he being quite noticeable for his gentlemanly, scholarly qualities, and for the close attention he gave to the subject of music and toall that concerned true advancement in the profession in which he had now resolved to remain for life. As illustrating the principles by which he was guided, I give the following extract from a letter of his to a friend, describing his life at the time just mentioned. He says,—

"I adopted as a rule of guidance for myself, that I would do full justice to the learner in my efforts to impart to him a good knowledge of the elementary principles of music, and a correct system of fingering [on the guitar], as practised by, and taught in the works of, the best masters in Europe. I also decided that in my intercourse as teacher I would preserve the most cautious and circumspect demeanor, considering the relation a mere business one that gave me no claims upon my pupils' attention or hospitality beyond what any ordinary business matter would give. I am not aware, therefore, that any one has ever had cause to complain of my demeanor, or that I have been in any case presumptive."

He had now become firmly established as a teacher, and was soon at the head of the profession in Cleveland as a guitar-instructor. This, however, did not satisfy him; and he determined to attain to still greater proficiency. Finding that the best systems for guitar-playing were such as were taught in the works (foreign) of Sor, Carulli, D'Aguado, Giuliani, Ferranti, and Mertz, Mr. Holland entered upon a course of study of the French, Italian, and Spanish languages, in order that he might read in the original the systems of those great masters, and thus be the better able to understand and apply the same. He soon by diligent study acquired a knowledge of the languages mentioned; and, as will hereafter appear, this knowledge became of great use to him.

The secret of our subject's great success as a guitar-virtuoso may be readily gathered from the statement Ihave just made about the foreign languages.He was always thorough, enterprising, singularly industrious.Loving deeply his chosen profession and instrument, he could never be satisfied with a position of mere mediocrity, either as a performer or teacher; but with most studious care he sought both near and far all sources of theoretical information, in order that he might thus secure skill in elucidation; while as a performer he reached to the innermost depths, so to say, of all forms of great musical expression, that he might bring from thence such sweets of melody and harmony as would charm his pupils, and rivet their attention on that beautiful instrument, the guitar. He ever aimed, in fine, to carry guitar-playing in this country to a state that comported with the highest laws of science,—to elevate it to the high level whence it had been taken by the great masters of Europe. His success in these aims will be more fully seen as this account progresses.

Mr. Holland, it seems, has not aspired to distinction as an original composer of music, although he has done something in that line. Of modest pretensions, and rather practical character, he has considered that he could do more for music and the guitar in seeking to make the meritorious compositions of others for other instruments available for guitar practice by skilful arrangements; and in this, his special field of musical labor,—speaking with respect either to the quantity or quality of his works,—he is without an equal in this country: indeed, in certain particulars which will be mentioned hereafter, it will be seen that he has surpassed even the guitar-virtuosos of Europe. His published arrangements for the guitar of the best music composed number more than three hundred pieces, all of themranking as standard; while with guitar-students, and the principal music-publishers of the day, the name of Holland has been since 1848 as familiar as a household word. It is remarkable, too, that nearly all of this large number of arrangements were made from music sent to Mr. Holland by publishers, with a request that he adapt the same to the guitar. He did not need to sound his own praises. While he quietly worked with his pupils in Cleveland, his fame as a skilful musician was spreading over the country. Soon publishers began to send him orders for arrangements. Such pieces as he had written merely for diversion, or for use with his classes, when it became known that he had them, were eagerly solicited for publication. If the reader will examine the catalogues of the larger music-publishing houses of the country, he will find, that, under the head of Guitar-Music, the name of Holland appears far oftener than that of any other writer. A partial list of his works I have thought of transferring from the publishers' catalogues to the pages of this book; but this, perhaps, is not necessary, nor will space allow it. I will state that his arrangements, with variations, three in number, of "Home, Sweet Home," are considered by competent judges the best adaptations of this immortal air ever made for the guitar. The same opinion is also expressed of his arrangement, with variations, of "The Carnival of Venice." It is a five-page concert-piece, equal to ten or twelve pages of piano-music. Those who love the guitar, or who are desirous of testing the abilities of the author and the correctness of the judgment just given, would do well to procure these two selections: this they can do from any of the music-publishers. Nor is a guitar library complete unless it containsmany more of this writer's works; such, for instance, as the following: "Winter Evenings," a collection of fifteen pieces, eight of them with variations; "Flowers of Melody," twenty-three pieces, among which is to be found the charming "Flower-Song" from the opera of "Faust," arranged as a solo; "Gems for the Guitar," twenty pieces; "Summer Evenings," containing an extensive list of songs; and "Bouquet of Melodies," a series of twenty-four arrangements from the most popular operas, all instrumental.

Most of Mr. Holland's writing has been for the eminent firm of S. Brainard's Sons of Cleveland, O., the most extensive music-publishing house in the country, with one exception; next to them, for J.L. Peters & Co. of New York; G.W. Brainard and D.P. Fauld, Louisville, Ky.; John Church of Cincinnati; and for a house in Michigan.

But our talented author has not confined himself to that department of guitar-writing just under consideration. Equal to his fame as an arranger is his fame as a writer of instruction-books for the guitar. These works are distinguished for comprehensiveness of study, general simplicity of arrangement, and for boldness of attack, and clearness of elucidation, ofallguitar difficulties. His chief work is "Holland's Comprehensive Method for the Guitar," written for and published by J.L. Peters & Co., New York, in 1874. This book, while in manuscript, was by Messrs. Peters & Co. submitted to the judgment of some of the finest critics in New York, by whom it was pronounced the best ever prepared either in this country or Europe.

On this point I append the following from the Cleveland "Plain-Dealer" of Dec. 24, 1868:—

"AN IMPORTANT MUSICAL WORK IN PREPARATION."For several months, Mr. Justin Holland, who has long enjoyed an honorable fame as a teacher of the guitar, a performer upon that instrument, and a successful musical author, has been engaged upon a book of instruction for the guitar. The work was undertaken at the suggestion of Mr. J.L. Peters, the widely-known music-publisher of New-York City, who has purchased the book, and will publish it at once; Mr. Holland having so nearly finished it, that the first portion can be put to press immediately. The work was sent on to New York some time since for Mr. Peters's inspection; and he submitted it to several other prominent musical critics and guitarists, all of whom expressed themselves highly pleased with it. Mr. Dressler, of 'The United-States Musical Review,' published at New York, says, 'I have carefully and thoroughly examined this new method for the guitar, and must confess that it is already, in its present state, the best in this country,—the most thorough, explicit, progressive, agreeable, and satisfactory work ever written in this country or in Europe.' Higher praise than this a book could not receive. The method is very elaborate, and contains many points not heretofore touched on in works of the kind. Mr. Holland's abilities as a composer of music, and his skill as a performer upon the guitar, render him pre-eminently qualified to write such a work; and supplying, as it will, a want long felt, it will achieve popularity at once, we firmly believe."

"AN IMPORTANT MUSICAL WORK IN PREPARATION.

"For several months, Mr. Justin Holland, who has long enjoyed an honorable fame as a teacher of the guitar, a performer upon that instrument, and a successful musical author, has been engaged upon a book of instruction for the guitar. The work was undertaken at the suggestion of Mr. J.L. Peters, the widely-known music-publisher of New-York City, who has purchased the book, and will publish it at once; Mr. Holland having so nearly finished it, that the first portion can be put to press immediately. The work was sent on to New York some time since for Mr. Peters's inspection; and he submitted it to several other prominent musical critics and guitarists, all of whom expressed themselves highly pleased with it. Mr. Dressler, of 'The United-States Musical Review,' published at New York, says, 'I have carefully and thoroughly examined this new method for the guitar, and must confess that it is already, in its present state, the best in this country,—the most thorough, explicit, progressive, agreeable, and satisfactory work ever written in this country or in Europe.' Higher praise than this a book could not receive. The method is very elaborate, and contains many points not heretofore touched on in works of the kind. Mr. Holland's abilities as a composer of music, and his skill as a performer upon the guitar, render him pre-eminently qualified to write such a work; and supplying, as it will, a want long felt, it will achieve popularity at once, we firmly believe."

Some time after the publication of the method just mentioned, the Messrs. Brainard engaged Mr. Holland to write a somewhat similar one, but smaller in size, for them. This they issued in 1876, it being styled "Holland's Modern Method for the Guitar." Although smaller in size than the first one, it is regarded as the best method for beginners that has as yet been produced.

It may perhaps be interesting to those possessing a scientific acquaintance with the guitar, as well, indeed, as to the general student of music, to learn how thisaccomplished author acquired the power to so clearly—more clearly than it was ever before done in guitar books—explain the method of producing on the guitar theharmonic tones. Writing a friend, Mr. Holland thus speaks of this:—

"When, in writing my first book, I came to the subject 'Harmonics,' I found myself at a loss as to how to explain these tones; not as to how to produce them myself, but to give a correcttheoryof their production. I searched in vain through a multitude of musical works, not knowing or thinking of anywhere else to look. I stopped for several weeks, and began a series of observations on the vibrations on the strings of my guitar; having nothing to aid me but my eyes, fingers, and ears, and a knowledge of the fact that the vibrations of a string were doubled in number for every octave of ascent in pitch of tone. I thus discovered the true theory of the harmonic tones to be the vibrations of a single string in a number of equal sections, more or less, and all at the same time; and that their production was at the pleasure of the operator as he desired higher or lower tones. Having fully verified my discoveries, I then corrected the erroneous theory on this subject of the great guitarist, F. Sor. I learned afterwards that the subject was discussed and explained in some scientific works that treated on acoustics."

I have before referred to the pecuniary disadvantages under which Mr. Holland had to labor in the beginning of his career. These followed him for a long period. It seems that much time must nearly always elapse ere even genius becomes acknowledged, and its possessor receives that pecuniary reward so necessary to his support. This acknowledgment, and, to an encouraging extent, this substantial reward, came to Mr. Holland after a while, but not until after he had passed through many very trying scenes. One of the latter has been thus described:—

"He always had a horror of asking any one for credit or a loan. At a certain time he found himself out of ready money. It was Sunday, and he had not the 'wherewith' to get his breakfast on Monday morning. He had always lived retired, forcing intimacy with none, and generally mingling only where business called him. He therefore did not feel intimate enough with any one to offer to borrow, nor did he feel like asking anywhere for credit. He had, however, a small job of writing that had been sent in, for which, when done, he was to receive about twenty-five dollars. Here was Mr. Holland's resource. He began his work about seven o'clock on Sunday evening. He wrote till late. Becoming weary, and his eyelids being heavy, he lighted a spirit-lamp; and with a very diminutive French coffee-pot he prepared, and soon was sipping, a cup of coffee that no doubt would have pleased the Arabian prophet, had he been present to partake. Refreshed by this, he continued his labors until the darkness grew to gray dawn, and the dawn to full light of day. At seven in the morning the last note was written. At eight o'clock he took the work to his patron, and before nine returned with a light heart and good material for breakfast."

A touching incident this, surely, but one that has had either a near or perfect counterpart in the lives of many music writers and teachers, who have often been obliged to labor in season and out of season for the bare necessaries of life. And yet how seldom it is that we are aware of the painful vigils that are kept by these gifted but toiling ones when creating the works that so much contribute to the pleasure of our leisure moments!

Of all the music-publishing firms for whom Mr. Holland has written, I believe the only ones that know him personally, and know that he is a colored man, are the Messrs. Brainard and Mr. John Church. On this point of color, a little incident in his life is well worth recording. One day, in 1864, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instrument. The salesmen present seeming disposed—nodoubt on account of his color—to give him no attention whatever, he quietly left, and made his purchase elsewhere. He has since been employed by, and has received large sums of money from, that very firm, as a writer of music for them. He does not even now personally know any one of the firm; nor is it supposed that the latter know him otherwise than by his reputation, and through correspondence with him. It is almost certain, that had it been generally known, as it was not outside of Cleveland, that this gifted and accomplished musician was a member of the colored race, his success would have been much curtailed, so greatly has the senseless, the ignoble feeling of color-phobia prevailed in this country. To the Messrs. Brainard and Mr. Church, who proved themselves superior to the low prejudices of the times, all honor be given! To them the brightness of the artist's genius was not obscured by the color of his face.

As another evidence of the esteem in which Mr. Holland is held by one of the firms just mentioned, I append the following extract from a letter which I received a few months ago:—

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