XV.

"Miss Nellie E. Brown has for some months been the leading soprano at Grace Church, Haverhill, Mass.; which position she has filled with eminent acceptance, and with marked exhibition of artistic powers."

And the same paper at another time said,—

"Miss Brown possesses a very fine voice under excellent culture, and gave with much taste several solos. Noticeably good was her rendering of Torrey's 'La Prima Vera.' In all her selections she exhibited excellent style and finish."

"The Globe," March 31, said,—

"Miss Nellie Brown showed a particularly well-modulated voice, trained study, and appreciative method, which served her well in the pleasant rendering given by her so gracefully and unaffectedly."

The same paper, after alluding to her rendition of "Del Criel Regina," said,—

"This lady is fortunate in her exceedingly sweet and well-trained voice, which, in conjunction with her fine personal appearance and stage manners, rendered her reception unusually enthusiastic."

Speaking of an entertainment given at Parker Memorial Hall, a musical writer said,—

"Miss Brown has a charming voice, and sings with intelligent expression and good taste. Two of her songs, 'Beautiful Erin' and 'Bonnie Dundee,' were rendered with great sweetness."

"The Boston Advertiser," March 31, said,—

"She has an exceptionally pure voice, which has been carefully trained."

"The Transcript," April 16, said,—

"A soprano of good voice and cultivation."

"The Journal," June 13, 1874, said,—

"A talented vocalist, with a well-cultivated voice of a remarkably fine quality. She pleased very greatly in several selections."

Said "The Post," Nov. 13,—

"An artist of exceptional merit, possessing a voice of rare compass, flexibility, and sweetness. In the solo, 'Land of my Birth,' by Operti, she received enthusiastic applause."

The public journals of her own city and state very early in her career chronicled Miss Brown's musical achievements, and even then felt warranted in awarding her strong but judicious praise. Latterly they have many times spoken in most enthusiastic terms of her added accomplishments. I shall quote only a few of the briefest of these.

"The Dover (N.H.) Daily Democrat," Dec. 19, 1873, said,—

"The concert given in the City Hall last evening by Miss Nellie Brown, assisted by Misses Gray and Bracket and the Amphion Glee Club of Haverhill, Mass., was a success.... Miss Brown was very warmly greeted, and surprised all with the ease and grace of her appearance, the richness of her voice, and the fine rendering of her music. She was enthusiastically encored."

"The Dover Enquirer," Sept. 7, 1876, said,—

"The organ and vocal concert at the new Methodist-Episcopal church on Tuesday evening was one of the finest ever given in Dover.... Dover's favorite, Miss Nellie E. Brown, was as warmly greeted as ever, sang most charmingly, and was loudly encored."

"The Dover Democrat," Sept. 6, 1876, said,—

"It [the concert] was a grand and complete success.... One little incident, or intended incident, was omitted at the concert. An elegant basket of flowers was sent by the friends of Miss Nellie Brown at Haverhill, for presentation to her at the close of her singing; but the express folks failed to deliver it in season. It was too bad; but Miss Brown and her numerous friends appreciate the good-will of the Haverhill people all the same. It was intended as a pretty tribute to one of the best singers in New England; and, sofar as the act itself was concerned, it stands just as well as though the presentation had taken place."

Miss Brown has sung in quite a number of the larger towns and cities of Massachusetts, in which State she is scarcely less a favorite than in New Hampshire. She has appeared at concerts in company with some of the most eminent artists of the country (such as, for instance, Professor Eugene Thayer, J.F. Rudolphsen, Myron W. Whitney, Mrs. Julia Houston West, Mrs. H.M. Smith, and others), and always with fine success. In her own city and state she enjoys a popularity unequalled by any other cantatrice, her beautiful voice and many excellent traits of character winning her the warmest esteem of all. The people of Dover are very proud of her, and greatly delighted that one of their number is received with such marks of enthusiastic favor in other States. The Dover papers always readily record these triumphs, and proudly speak of her as "our prima donna."

In November, 1874, our subject sang in Steinway Hall, New York, and was highly complimented by several of the papers of that city.

"The Gazette," Nov. 4, 1874, said,—

"Miss Nellie Brown, born and bred among the lulls of New Hampshire, possesses a voice of rare power and beauty, which she has diligently labored to cultivate and improve by close and unremitting study. She has also a rare charm of manner, which, united with her exquisite singing, won for her an enthusiastic reception."

Another paper thus referred to her:—

"Miss Brown is not a New-Yorker, but resides at Dover, N.H., where she is the leading soprano in the principal church. Her stage presence is quite prepossessing. She sang 'Salve Maria,' and'Robert toi que j'aime,' with very good effect, besides assisting in several duets and quartets. She possesses a very good voice; and, although of light calibre, it is even now able to fill a hall like Steinway."

She has appeared at concerts in Washington, D.C., Portland, Me., Baltimore, Md., and St. John, N.B. In December, 1874, Miss Brown visited the national capital, where she sang in a series of concerts given in Lincoln Hall under the auspices of the Abt Society. Of the part taken by her in one of these "The National Republican" said,—

"'La Prima Vera,' by Miss Nellie E. Brown, was beautifully and artistically rendered, the lady possessing a beautiful, full, round voice, which blended harmoniously with the perfect ease and faultless execution which graced her performance. It being her first appearance before a Washington audience, the expectation formed of her excellence in an artistic sense was more than realized. 'Nobody at Home but Me,' sung by the same lady in reply to an encore, more fully, if it were necessary, stamped her as an artist of the first class."

I believe I have already intimated that the very high esteem in which Miss Brown is held arises not alone from her possession of charming lyric qualities, but also from her obliging disposition and engaging manners. She has ever been the true artist; earnestly devoted to the fullest development of her own musical powers, but not envying those of others; loving music intensely, as something sacred, and always anxious to aid in extending its benign influence. The people of Dover, of Haverhill, of Boston, and other places, hold her in grateful remembrance for a frequent exercise of those generous impulses that have caused her to often sing without charge at concerts given for the benefit of many good objects.

As one among her many acts to benefit the young, to inspire them with a love of the beautiful in music, I may refer to the "Centennial Musical Festival" originated by her, and given under her direction in Boston on the evenings of May 16 and 17, 1876. For these occasions she had carefully instructed fifty young girls to perform the beautiful cantata of "Laila, the Fairy Queen," a juvenile operetta. This charming composition is admirably adapted to inspire a love of the beautiful in art, and to nurture sentiments of Christian kindness. The following is in brief the plot:—

"A band of mountain children are collected to spend the summer day in singing, gathering flowers, and feasting around their table spread beneath the shadowy branches of the trees. They are interrupted by the approach of a beggar-woman and her children. A part of the children at first repulse her, offended at having their joyous festival thus interrupted: but one of them, Laila, steps forth with a mild rebuke to her playmates for their unkindness: she welcomes the poor mother and children, and bids them make known their wants. The other children soon join with Laila in speaking kindly to the poor wanderers; and, after they have told them their tale of sorrow, they are invited to the feast which the children have prepared, and all together go out with a merry song to where the table is spread. But Laila, the favorite of all, wandering off alone to cull some wild flowers, in the ardor of her search loses her way, and wanders about until night approaches; and then, as weary and frightened she finds herself in a dark forest, she kneels to ask aid from her good angel, when suddenly a little band of fairies with their queen glide into her presence, glittering in their robes of beauty; and, after her surprise is over, at her entreaty they conduct her to her playmates."The mountain children soon miss Laila, and all the afternoon they spend in fruitless search for her; and, as night approaches, they collect in the grove where they first assembled, and are expressing their grief and terror at the loss of Laila, when she is led in by the fairies and their queen, who steps forth, and announcesto the children that they are the same ones, who, disguised as wretched beggars, came in the morning to prove the generosity of their hearts; and tells them never in future to hesitate to give the needy, for virtue is sure to be rewarded. All unite in a joyous song, and Laila is crowned their queen."

"The mountain children soon miss Laila, and all the afternoon they spend in fruitless search for her; and, as night approaches, they collect in the grove where they first assembled, and are expressing their grief and terror at the loss of Laila, when she is led in by the fairies and their queen, who steps forth, and announcesto the children that they are the same ones, who, disguised as wretched beggars, came in the morning to prove the generosity of their hearts; and tells them never in future to hesitate to give the needy, for virtue is sure to be rewarded. All unite in a joyous song, and Laila is crowned their queen."

The many persons who were so fortunate as to witness the performance of those charming misses will not soon forget the delights that were thus afforded them, nor will they fail to remember most gratefully the lady to whose painstaking and noble efforts they are so much indebted for what was a rare treat.

I would fain attempt a description of the scene of dazzling beauty upon which our eyes feasted, and the music of the fresh young voices that fell delightfully upon our ears, and touched with gladdening effect each heart; but I forbear, and give place to the musical critic of "The Boston Journal," who, on May 17, said,—

... "The occasion was the presentation of the cantata of 'Laila' by fifty young ladies, under the direction of Miss Nellie E. Brown. The misses, ranging from five to fifteen years, possess very sweet voices; and the music was given with much taste, and a degree of artistic excellence reflecting great credit on Miss Brown's efforts.... The audience were greatly pleased with the rendering of the music.... While the singing was good, there was exhibited considerable dramatic art by some of the young ladies. The dresses worn are neat and pretty, the fairy costumes being very striking and appropriate. The stage, too, was neatly set; and there was quite a good spectacular effort in the representation of the fairy grotto."

At Haverhill, Mass., Dec. 13, 1876, Miss Brown again gave this operetta, when the fifty young ladies appearing were chosen from the high school of that city.

"The Haverhill Bulletin," Dec. 14, 1876, said,—

"The presentation of the operetta of 'Laila' at City Hall, on Wednesday evening, was a very gratifying success.... The whole affair was under the direction of Miss Nellie E. Brown, the popular soprano of Grace Methodist-Episcopal Church. She was assisted by some fifty young ladies of this city; and the promptness and harmony with which all the arrangements of the affair were carried out, as well as the musical and dramatic talent displayed by them, are certainly very creditable both to her superintendence and their co-operation."

In the month of July, 1876, Miss Brown was engaged to sing at the "Great Sunday-school Parliament" held on Wellesley, one of the famous Thousand Islands, in the River St. Lawrence. The now much-lamented Professor P.P. Bliss (who had become so eminent as a composer of popular sacred songs), his talented wife, and Miss Brown, were the leading singers and soloists on the occasion mentioned. The two former failing to arrive in time, the musical exercises, which were of a very fine order, were arranged, and for a while conducted, by Miss Brown. Mr. and Mrs. Bliss, however, arrived some time after the sessions had begun, and then participated in the singing. At this memorable gathering of Christian people from all parts of the United States and Canada, Miss Brown, in the display of fine musical powers, won new laurels; and her charming singing was made the subject of frequent and very complimentary allusion by newspaper correspondents writing from the island. In a handsome volume since published by the director of the "Parliament," and which is a record of its proceedings, she is several times creditably mentioned.

The following is one of many like notices which the musical exercises mentioned elicited:—

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

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

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

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

“THE entertainments at Parker Memorial Hall on Sunday evenings in no wise lessen in interest and numbers. One evening, listening to Gounod's 'Ave Maria' by the famous Germania Orchestra, we felt that the worship of the Virgin, of which was born such heavenly strains, if for no other reason, was not without its use in the world even now. Another evening Mr. Jamieson awoke the echoes of the piano in a manner to do credit to a Liszt and Chopin."

Samuel W. Jamieson

SAMUEL W. JAMIESON.

Thus, a year or two ago, spoke one of Boston's first writers and musical critics, when, in an article published in "The Commonwealth," alluding to the accomplished pianist, Samuel W. Jamieson.

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

Mr. Jamieson was born in Washington, D.C., in the year 1855. He began the study of music, taking lessons on the piano-forte, when about eleven years of age. Since then he has been under the instruction of some of the best masters of Boston, such as James M. Tracy, and Fred. K. Boscovitz, the celebrated Hungarian pianist. He has been a pupil of the Boston Conservatory; from which classical institution he graduated in honor in 1876, receiving its valuable diploma.

While a student at the Boston Conservatory, he was nearly always chosen by the director, Mr. Julius Eichberg, to represent at the quarterly concerts the fine progress made by its pupils. At such times his performances of numbers, requiring rapidity of reading and execution, together with a good knowledge of pianotechnique, drew from the press the most favorable comments, and made him the favorite piano pupil at the institution mentioned. The following, as an instance of these comments, is taken from "The Boston Journal:"—

... "But the best thing in the piano line was the rendering of Chopin's 'Polonaise,' in E flat, by Mr. Samuel W. Jamieson. The 'Hungarian Rhapsodie,' No. 2, of Liszt, was most particularly characterized by a delicate touch, and a clear conception of the subject in hand."It is but just to say that this gentleman is an advanced scholar."

"It is but just to say that this gentleman is an advanced scholar."

And this from "The Folio," referring to another like occasion:—

"Mr. Samuel Jamieson, pupil of the Boston Conservatory, but directly under the instruction of Mr. Tracy, carried off a good share of the honors of the recentmatinéeof that very successful school."

"The Boston Traveller," describing the performances of pupils of the Conservatory at Music Hall, after stating that all the performances were of a high order, makes special mention of Mr. Jamieson, saying that "his execution of a difficult number was worthy of the highest praise." Many other comments equally favorable could here be given, were it necessary.

His performances at these concerts soon made him widely known among the musical and general public of Boston and vicinity, and his services as a soloist became much in demand. As soon as he had attained to a fair degree of proficiency, he began to give lessons on the piano-forte; and by so doing, and by occasionally appearing at concerts, he secured the means to continue his studies at the Conservatory. His playing at one of these concerts was thus spoken of in a Boston paper:—

"The concert given on Tuesday evening at the Music Hall, though so little known as to be thinly attended, was a very satisfactory entertainment, and well deserved a large audience. Mr. Jamieson is a pupil of the Hungarian pianist Mr. F. Boscovitz, some prominent features of whose style he closely imitates. His playing shows him to be a careful, conscientious student, possessed of real musical sensibility, without any of the nauseous sentimentalism so common among young players. His best performance in everyrespect was Liszt's 'Rigoletto' fantasie, the mechanical difficulties of which he has well conquered, and the passionate meaning of which he interpreted very finely. In answer to an encore of this piece, he gave Mr. Boscovitz's exquisite little 'Chant du Matin,' Op. 68."He will make an excellent pianist if he prosecutes his study as faithfully as he has commenced it. Mr. Jamieson carries with him the good wishes and the highest expectations of those who heard him."

"He will make an excellent pianist if he prosecutes his study as faithfully as he has commenced it. Mr. Jamieson carries with him the good wishes and the highest expectations of those who heard him."

He early showed a singleness of devotion to his chosen work, and has always evinced a spirit of ambitious aim. Some particulars of the latter, while winning him the approval of the thoughtful, have caused him to be misunderstood and censured by others. With fine artistic taste, ever aiming high, fully in earnest, and with no more than (as the writer believes) a just estimate of his attainments and consequent rank as a musician, Mr. Jamieson has sometimes declined to appear at the "two-penny show" concerts given generally in the churches, and often by "artists" (?) of abilities so poor as to render them fit subjects for the training of a rudimentary music school rather than as objects of public view or favor. Still I do not believe that Mr. Jamieson has been unwilling to acknowledge the generally known fact, that much good has often been done by amateurs and others at church concerts, both by the aid thus afforded to meritorious causes, and by the musical practice and public acquaintance obtained for themselves. That he has not been without a ready sympathy for the persons or causes to be benefited by such entertainments is well evinced by the fact, that (notwithstanding he holds certain views mentioned in this connection) he has appeared at times at the same, at the better kind, making no charge for his services; and yet hisoccasional refusal to appear at certain of these concerts has been attributed—generally by ignorant persons, but sometimes also by others, who, as they knew better, must have been influenced alone by bad motives—to his possession of undue self-esteem, &c. But these unjust criticisms, although often causing him pain, could never swerve him from his chosen path. He would never lower his standard, and he always sought to enter the lists with those who contended for the highest prizes in art. The prominent position he holds to-day as an artist is proof that his course has been the right one, and the one which should serve as an example to all those young persons, who, endowed with musical talents, are yet neglecting to cultivate the same; who are, in fact, allowing them to gradually waste away by giving themselves to unmusical, injurious associations; and who quite too often spend the precious time that should be given under competent teachers to diligent, untiring study, in appearances before audiences whose applause, of doubtful value, is readily bestowed in unstinted quantities, and which serves, alas! but to dazzle, to deceive, and too often to permanently ruin, the young performer.

Mr. Jamieson's fine, ever-increasing musical abilities, his general intelligence and gentlemanly bearing, soon gained for him theentréeof the best musical circles of Boston and vicinity, and secured for him association at concerts with the most advanced artists. During the winters of 1875 and 1876 he several times appeared before large and enthusiastic audiences at a series of entertainments given at Parker Memorial Hall. A writer thus mentions his performances at one of these concerts:—

"Mr. Jamieson, the pianist, was before the public last season, and then gained strong praise. He is a promising young artist, and his performances on this occasion showed marked improvement. His selections embraced a fantasie on the 'Wedding March' of Liszt, a fantasie on themes from 'Rigoletto,' and variations on 'Home, Sweet Home;' and in all three he won deserved applause."

He has devoted himself solely to the piano-forte, and makes no pretensions to a knowledge of other instruments, considering the former as quite worthy of his undivided study,—especially in these days, when, in his own city and state at least, fine piano soloists are so numerous, and whose best performances he desires to equal, and, if possible, to excel.

From the first, Mr. Jamieson has given himself to the performance of only the higher class of music. So determined is he in this respect, that he will not playdance-music, not even that of the best order. The writer once asked him to play one of Strauss' most bewitching waltzes,—one full of those delicious, so to say, entrancing melodies, for which the productions of this gifted composer are so noticeable, and one which at the time had taken nearly every one completely captive. I refer to the "Beautiful Blue Danube" waltz. But he declined to play it. I again and again entreated him; for I not only delighted to hear as often as possible this charming-selection, but, knowing Mr. Jamieson's rare powers as a pianist, I was especially anxious to hearhimgive life to its magic strains. No amount of persuasion could move him, however; and he finally ended the matter by telling me that he never, under any circumstances, played dance-music, as he deemed its practice an injury to one who wished to reach the highest positions as a pianist. So I was compelled topocket my disappointment, and to go elsewhere for my "Beautiful Blue Danube."

Mr. Jamieson is an assiduous student, devoting several of the early morning hours of each day to practice on the piano-forte. Even during the heated term, when most artists neglect their instruments, and hie away to enjoy the refreshing breezes of the sea-shore or the mountains, he may much of the time be found at his rooms, undeterred by the hot atmosphere, diligently at work keeping up the nice degree of proficiency he has already attained, or bravely attacking whatever difficulties remain to be overcome. He does, it is true, go away every summer to a quiet nook in the country, remaining, however, only a short while, and during which he does not, to any great extent, lessen his hours of practice.

During the winter of 1874 he several times appeared at public concerts in Boston and in other parts of New England. His performances at asoirée musicaleat the Meionaon, Tremont Temple, Boston, were alluded to in the following gratifying terms by "The Boston Globe:"—

"Mr. Jamieson exhibits much power and delicacy, and a certain confident but not obtrusive manner, which will go far, with his abilities, to place him in a high rank among our pianists. He gave much satisfaction; his performance of Liszt's fantasie on themes from Verdi's 'Rigoletto' showing great skill in mastering the difficult technicalities in the variations on the theme."

And in this manner by "The Boston Traveller:"—

"Mr. Jamieson has come into prominence in this city as a pianist, and the ability he has shown has won him the regard of musical people. His selections last evening were all of the highest order, and were uniformly well performed. Compositions of Chopin, Boscovitz, and Liszt, were given; and in each a clear appreciation of the character of the compositions was shown."

Referring to another occasion, "The Boston Globe" thus spoke of our artist:—

"The participant best known to the Boston public, perhaps, was Mr. S. Jamieson, who has appeared as pianist on several occasions in public and private with marked acceptability. He was on the programme for two solos, both of which were given with a skill and an artistic conception that sustained the favorable impression that he had previously made."

Mr. Jamieson has for some time cherished a hope of going to Europe, there to place himself for a while under the direction of one or more of the great masters of piano-forte playing; being firmly resolved to leave nothing undone the accomplishment of which will place him among the first pianists of the world. Those who know of his present abilities commend him for this desire, and feel warranted in predicting his complete success. Recently a few among the leading musical ladies and gentlemen of Boston tendered him a complimentary reception at the residence of one of the former, and at its close presented him a sum of money to aid him in carrying out the purpose just referred to. The occasion was thus alluded to by "The Daily Advertiser:"—

"A musicalsoiréewas given last evening at the residence of Mrs. Jno. W. Perry in aid of Mr. S.W. Jamieson, the talented pianist of the Boston Conservatory, who contemplates a pursuance of his musical studies in Europe the coming summer.... The assemblage, which was one of the highest order of respectability, thoroughly enjoyed the choice music that was selected for their ears. Mrs. Kempton, Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, Haggerty, Walker, Willard, and Sweetser, contributed in a programme made up of numbers from Rossini, Rubenstein, Schubert, Bendel, Mills, Campana, Chopin, Violetta, Liszt, and Gottschalk."

The writer of the above deemed it quite enough to merely mention the names of composers and artists, leaving to the musical reader to imagine (as easily he could) how rich and plenteous a feast of harmony must have been furnished to those fortunately present on this delightful occasion.

As may perhaps be inferred from the comments heretofore given, Mr. Jamieson, as a pianist, is noticeable for the clearness of his touch, the brilliancy of his style, and the thoroughness of his execution,—not failing to exhibit these pleasing qualities even when playing the most rapid passages,—while he ever shows a full and ready sympathy with the spirit and aims of the composer.

His remarkable proficiency as a pianist, and the private and public attention which the same has drawn to him, has secured him, from time to time, many pupils and as a teacher he has been quite successful.

If the doctrine of "heredity" be true, Mr. Jamieson may trace his possession of musical talent to his grandfather, who attracted much attention as a musician.

But there is no easy road to proficiency and eminence in the musical art; nor is there one in any other. Art is a right royal and exacting mistress; and he who would be numbered among the favored attendants at her court must fairly win the distinction by that devoted, undivided loyalty which is ever accompanied by the severest study, the most self-denying application. It cannot be denied, of course, that the possessor of genius or of talent may succeed far more easily than he who is without such powerful aid; but it is also true, that those who by their works present examples of great achievement in the science of music, and who cause usoften to pause in utter amazement when reflecting upon the exceeding beauty, the magnitude and grandeur, of their creations, owed their brilliant success as much to indefatigable labor as to their great gifts of mind. Indeed, as has often been said, "there is no excellence without great labor."

So our young artist—of course I speak of him in this connection in a comparative sense—owes his present high success not more to his possession of rich natural talents than to the tireless zeal with which he has cultivated the same.

Possessing naturally a loftiness of spirit, and with a just conception of his powers; having full faith in and trusting himself; not unmindful of, nor unduly elated by, the many commendations he has received from critical judges touching his musical abilities; wearing easily all the attentions and honors he so constantly wins, and quickly noting and acting upon any suggestions of errors in his performances; at all times a conscientious, a zealous student, impelled by a deep and enthusiastic love for the art of music, and never satisfied unless working amidst its higher forms,—possessing, as Mr. Jamieson does, these rare and valuable characteristics, and being withal still quite young, it is but reasonable to believe that he will ere long attain to the highest distinction, and be ranked with the very first pianists of the time in either the New or the Old World.

THE violin, so often called the "king of instruments," is of great antiquity. As to just when it was invented is a point as yet unsettled, despite the indefatigable researches of historians of music and of general antiquaries. The instrument certainly existed, however, as early as the sixth century; this being proven generally by the figures of violins observable on very ancient and respectable monuments still existing, and particularly by a figure cut in the portico of the venerable Cathedral of Notre Dame in Paris, founded by Childebert in the sixth century, which figure represents King Chilperic with a violin in his hand.

It being thus used in a representative character shows, too, that it has for many hundreds of years been afavorite instrument. Of that ancient guild of musicians, the troubadours,—so long the principal devotees and custodians of the divine art,—those were most esteemed by royalty and the general public who were the best violists.

In the construction of most musical instruments, improvements have been constantly made up to the present time. This is particularly true of the piano-forte; the handsome form, and the purity and beauty of tone, observable in a lately-made "Chickering" or "Steinway," rendering them so much superior to a piano of the olden times, as to barely admit of the latter's being called by the same name. But this is not true of the violin, inasmuch as a long time has elapsed since any change has been made in its construction that would add to its delicate, graceful form, to its nicety, sweetness, and purity of tone, or general musical capacity. To-day a Cremona, or an Amati, as well as violins of other celebrated makers of the long past, commands almost fabulous prices. A Cremona very lately sold for four thousand dollars; while such instruments as I have mentioned, when in the possession of a soloist, are scarcely to be purchased at any price.

Up to the times of the celebrated violin-virtuoso, Paganini, there had not been, it would seem, much improvement made in performance upon this instrument. He startled and electrified the musical world, and in his wonderful playing developed and amplified such resources and effects, both as to instrument and performer, as were not, previously to his coming, thought possible. After him, and to be compared with him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The latter, although not as yet so well known asthe others (he is only a little over thirty years of age), is considered by competent critics to be fully entitled to rank with them.

But these are "bright particular stars," men of genius. The instrument is so difficult of mastery, that few violin-students may hope to equal such marvellous players as those mentioned; although long-continued and severe application may make them good orchestral performers or fair soloists.

The violin is said to be the "king of instruments;" but, by this, reference is made to those powers and extensive resources of expression that are made manifest when the instrument is subject to the brain and hand of the very skilful performer.

At such a time it is made to sing a song, which, readily awakening the sympathies of the soul, causes the listener to recognize and feel the effects of the intonations of pathos, of passion, of deepest melancholy, or those of lightsomeness and wildest joy.

Indeed, this noble instrument, under the deft fingering and skilful bowing of a master-player, becomes almost sentient, and is shown to possess the superior and exclusive power of expressing nearly all the human voice can produce except the articulation of words. A music-teacher once wrote that "the art of playing on the violin requires the nicest perception and the most sense of any art in the known world;" and many there are who will agree with him.

The purity, the sweetness, of its tones,—to produce which calls into exercise the most delicate faculties of the mind,—and the power of these tones to awaken in the heart the most tender feelings, to lead the performer at times into delightful imaginations, into pleasing,restful reveries,—it is the possession of such charming qualities as these that has rendered the violin at all times the favorite companion of the leisure moments of men eminent in the walks of literature, of princes, and other persons of taste and refinement. Some among those first mentioned have excelled as violin-performers, notwithstanding their other occupations.

Girardini, when asked how long it would take to learn to play the violin, replied, "Twelve hours a day for twenty years." Another thus intimates how long and arduous must be the toil before its mastery can be acquired:—

"The difficulty of thoroughly mastering the violin—the difficulty, that is, of combining perfect execution with brilliancy of tone and perfect expression—is so vast, that nothing short of indomitable patience and perseverance, united with those indispensable faculties which all good players must possess, will succeed in overcoming them. 'Twelve years' practice,' says a musical critic, 'on the violin, will produce about as much proficiency as one year's practice on the piano.' If that is so, we may well imagine that a man, who by dint of perseverance has at length qualified himself to take his place in an orchestra, may content himself by merely maintaining his acquired skill, without attempting to rival the great heads of the profession."The time which some students will devote to fiddling is almost incredible. We have known a clever man to practise every waking hour in the day, rising early and sitting up late, and sparing hardly one hour in the twenty-four for meals, for two years together, in the hope of qualifying himself for the leadership in a provincial orchestra; which, after all, he failed in doing. We have known men who fiddled in bed when they could not sleep, rather than waste the time; and others who have carried a dumb finger-board in their pockets, in order to practise the fingering of difficult passages while walking abroad or travelling by coach."

"The time which some students will devote to fiddling is almost incredible. We have known a clever man to practise every waking hour in the day, rising early and sitting up late, and sparing hardly one hour in the twenty-four for meals, for two years together, in the hope of qualifying himself for the leadership in a provincial orchestra; which, after all, he failed in doing. We have known men who fiddled in bed when they could not sleep, rather than waste the time; and others who have carried a dumb finger-board in their pockets, in order to practise the fingering of difficult passages while walking abroad or travelling by coach."

It is, however, far from the purpose of the writer todiscourage those who may wish to become proficient as performers on this delightful instrument, or to do otherwise than attempt to increase the number of those, who, having carefully listened to master-players, and having thus learned of the wonderful intonations and of the great refinement of musical expression of which the violin is capable, have resolved to become far more than mere "fiddlers;" and are therefore conscientiously and patiently addressing themselves to an endeavor to overcome its difficulties, and to take rank as real violinists. To many of this number a good if not a perfect degree of success must come, as it ever surely comes to the earnest, persevering student of any art.

To all such, then, the writer tenders his best wishes; while he earnestly commends the above examples to all who may have a desire to learn to develop the beautiful harmonic mysteries of this expressive, soulful instrument.

MR. JOSEPH WHITE[14]is a child of the New World. He was born in Matanzas, Cuba. His first steps in art were made in his native town.

His father, an amateur in music, thought he had recognized from the early infancy of the great artist a more than ordinary taste for art. When the child heard the tones of a violin, he used to leave off play, and run in the direction where the instrument was singing, his eyes never losing sight of the virtuoso. Indeed, byhis actions at such times, he seemed not to belong to this world.

Joseph White

JOSEPH WHITE.

As soon as his hands were large enough to hold a violin, they gave him one; and were much astonished, when, at the end of a few months, he presented himself before a large audience, striking the same with amazement by the manner, entirely magisterial, in which he so early attacked the instrument.

He continued his studies until the year 1855, when, at the suggestion of the famous Gottschalk, who had noticed the signs of genius in the young man, he started for Paris, the city of wonders, and centre of attraction for all aspirations.

He came then, this young virtuoso, and presented himself at the Conservatoire, asking to enter as a pupil. After going through a brilliant examination, and after fighting against more than sixty rivals, he was received with unanimity.

In July, 1856, one year from the time of his entering the Conservatoire, White won all the "approbations," and wreaths and laurels were given him.

But we will let the newspapers of the time speak; for our own pen will be powerless to give an account of the successes of the eminent artist. The "Gazette Musicale" of the 3d of August, 1856, speaks thus:—

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