that they employed it as a remedial agent, believing it a sure cure
for certain kinds of disease. While such a belief--that is, in its
entirety--may not be held in modern times, yet this notion of the
curative qualities of music does not seem so very fanciful or
mysterious after a little reflection. We know that nothing so
generally conduces to recovery from sickness as those influences that
inspire feelings of cheerfulness, and that serve to divert the mind of
the patient from a contemplation of his bodily sufferings,--it being
almost a proverb, that "a pain forgot is a pain cured,"--and that one
of the chief of such agencies is the soothing, inspiriting charm of
music. It is not meant by this, of course, that music is of itself and
specifically a cure, but that it may be often employed as a powerful
aid in effecting the same. We know, moreover, that this
delight-affording art may be profitably used to "minister to a mind
diseased," and that its aid is often invoked by those physicians who
are most skilful, if not in curing, at least in ameliorating the
condition of, persons afflicted with that terrible malady, insanity.
Perhaps Saul of olden times, who is said to have been once possessed
with an "evil spirit," was then simply insane; and, taking this view
of his condition,--which is, after all, the one that seems the more
correct,--the statement in the Bible, that David drove away this evil
spirit by his skilful playing upon the harp, becomes easy to
understand, since the occurrence is thus divested of its miraculous
character.
But I must not fail to notice here the remark sometimes made, that the
study and practice of music do not always give to those engaged in the
same the graces of a true refinement; that even persons highly skilled
in the art are sometimes unamiable in manners, and coarse in habits.
To this I reply, that no art nor human agency is capable of elevating
every character to perfection; and that the exceptions above mentioned
become very noticeable, and cause surprise, because of the known good
influence upon the heart and mind generally exerted by the study and
practice of good music. Besides, all great musical "_stars_" must not
be classed with the conscientious, loving student of the art. Some
among the former, gifted with phenomenal voices or with rare powers
for instrumental performance, having reached, perhaps, with a few easy
strides, their high positions, and caring but little for music save as
it ministers to their vanity, conceit, or cupidity,--these have missed
that gradually unfolding _culture_ of the mind and heart that belongs
to the progress of one who conscientiously seeks to know music's
manifold beauties, and who with real appreciation for the beautiful in
art, _loving music for music's sake_, feels and exhibits in his
deportment towards his fellow-men its delightful and elevating power.
And here I cannot forbear to remark, that the musical education of the
youth of our country is not being pushed towards that state of
_thoroughness_ so necessary to a real comprehension and enjoyment of
the art. Nearly all intelligent parents are frequent, and even
fulsome, in their praises of music; and, when they speak or write of
it, the laudatory exclamation is often brought into use. And yet they
seem to be satisfied, generally, when their children obtain, by a mere
skimming over its surface, but a peep into the realities and refining
beauties of the science; when the favorite daughter in the use of the
piano-forte, for instance, becomes only the most wearisome of
"thrummers."
"The London World" is none too severe on the "accomplished" young lady
of the period, when it says,--
"The ordinary young lady can only play set pieces on the
piano that she has learned at the price of Heaven knows how
many valuable hours' practising. She never remembers any
thing by heart; could not compose two notes to save her
life; and cannot repeat by ear the simplest melody out of an
opera, though she has heard it a hundred times. She is
perfectly ignorant of the history of music; hates classical
works; knows few of the masters' names save Verdi,
Donizetti, Offenbach, and Mozart, the latter only as the
composer of 'Don Giovanni.' Gregorian or Latin chants convey
no especial meaning to her mind: all she can tell you about
them is that they are used in church. As for orchestration,
scoring, and such like, they are only fit matters for
professionals. She will call Wagner horrid, Gounod lovely,
Mendelssohn dull, and Beethoven pretty, without knowing why
she likes or dislikes any thing. She yawns at an oratorio,
is bored at a concert, and only enjoys opera because she
knows everybody that sits in the boxes."
Besides, I think a mistake is made in compelling girls to learn to
play only the piano-forte. There are other instruments, for
performance upon which many of them have talents. Nor need such
performance detract from a graceful, ladylike appearance. I mention,
for example, the harp, the violin, and, indeed, all the stringed
instruments, and even others. But on this point another says,--
"A recent number of the London 'Queen' contains an article
recommending the violin as an instrument peculiarly
appropriate for the use of ladies. It protests against the
custom of teaching girls to play the piano-forte only,
arguing that they should have a larger field in music. There
is certainly no reason why girls may not gracefully handle
the bow; and it is stated in the article referred to, that
they 'can learn the violin in half the time that boys
can,'--a statement which indicates that a goodly number of
girls somewhere have had the opportunity of learning. In
this age of progress, girls may certainly have a choice of
instruments, and an opportunity to pursue the delightful art
of music in whatever way they choose. If taste or fancy
incline them to wind-instruments, why should they not try
them?"
Mr. Dwight, in his "Journal of Music," very justly and considerately
discourses of the utility of violin accomplishment, and the
adaptability of the instrument to womanly practice. He says,
"We have always wondered, that in a community where so much
attention is paid to music, and where almost every girl and
boy is taught to thrum the piano, so few acquire, or even
seek to acquire, the art of playing on the violin. The
piano, to be sure, is a more representative instrument,
enabling one pair of hands to grasp the whole harmony of a
composition, or a compendium thereof; but the violin, with
the other members of its family, viola, 'cello, &c., is the
more social instrument, bringing together groups of kindred
spirits who can play in parts, and read together the
quartets, &c., of the greatest masters, or play sonata duos,
trios, &c., with the piano-forte. And the string-instruments
are infinitely the most expressive: their tones lie nearer
to the soul, spring more directly from the human breast.
They are the heart of the whole orchestra, the most
essential part of music, next to the human voice. It is a
graceful, manly, healthy exercise, to play the violin. If it
be very difficult to play it like an artist, so much the
worthier of a manly aspiration. If it is often only vulgar
_fiddling_, it is, on the other hand, with those truly
schooled, the most gentlemanly of instruments. And we
maintain that it is equally the most womanly. We have many
times expressed our interest in female violinists. Who that
has seen and heard Camilla Urso, or Teresa Liebe, or Mr.
Eichberg's accomplished pupil, Persis Bell, could fail to
feel that the violin seemed peculiarly fitted to the female
constitution and capacity? How graceful the attitude and
motions of a young woman skilfully handling the bow! Her
finer sense of touch, her delicate tact, her instinctive
feeling-out of the pure truth of tone, give woman a great
advantage in this art; and the several examples we have had
from time to time in the concerts of the Boston Conservatory
of Music have shown that this was no mere dream."
But the limits of this book will not permit me to go much farther into
this alluring subject. I shall therefore close this chapter by a brief
reference to those who occupy the really noble positions of teachers
of the sublime art of music.
He whose own mind has been illumined and whose own soul has been
especially cheered and enlarged by the various contemplations, the
studies and conceptions, of art, will not, in fact can not, hide his
light for his own selfish enjoyment, but will seek to brighten the way
of such as wish to learn its beauty, power, and uses. And how
honorable, how enviable, is the mission of such a one as he who
imparts to his fellows a knowledge of the beautiful science of music,
leading them, through all the delighting, soul-filling forms of
melody, into the region of a very fairy-land!
And finally, as giving fitting expression to the estimation in which
the true musician is held by all intelligent people, I append this
elegant tribute by Dr. Burgh:--
"The physician who heals diseases, and alleviates the anguish of the
body, certainly merits a more conspicuous and honorable place; but the
musician who eminently soothes our sorrows, and innocently diverts the
mind in health, renders his memory deservedly dear to the grateful and
refined part of mankind in every civilized nation."
V.
ELIZABETH TAYLOR GREENFIELD,
THE FAMOUS SONGSTRESS;
OFTEN CALLED
THE "BLACK SWAN."
"A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid;
And on her dulcimer she played,
Singing of Mount Abora."
COLERIDGE.
"Hovering swans....
Carol sounds harmonious."
CALLIMACHUS' _Hymn to Apollo_.
In giving a brief sketch of the life of the celebrated cantatrice,
Miss Greenfield, the writer is somewhat embarrassed by the amount and
richness of the materials at his command. For it would require far too
much space to give all, or even a considerable portion, of the many
press notices, criticisms, incidents, and the various items of
interest, that are connected with her remarkable career; while to
judiciously select from among the same a few, so that, while justice
is done the subject, the interest of the reader may not be
lessened, is far from being an easy task, albeit it is a pleasant one.
I find, indeed, that the pages of the public journals fairly teemed
with praises of the great prima donna, as she was frequently called by
them. The musical world was startled, intensely delighted,
electrified, by her notes of sweetest melody. Her magnificent voice,
in its great range in both the upper and lower registers, was regarded
as nothing short of wonderful. Those who at first were incredulous
soon became convinced of this, and were fairly taken captive; while
the always friendly ones, especially those with whom Miss Greenfield
was most closely identified, felt the keenest pleasure and most
unbounded pride in her great triumphs.
[Illustration: ELIZABETH TAYLOR GREENFIELD.]
All this was chronicled by the press, and formed the theme of constant
conversation and correspondence. Many testimonials from persons in
this country skilled in music and of fine general culture, as well as
others from the Queen of England and several of the English nobility,
were among her rich possessions, and were so great in number and so
flattering in character as to have made hers almost, if indeed not
altogether, an exceptional case.
These strong evidences of approval did not, however, make Miss
Greenfield vain. The natural simplicity of her character remained
unchanged. All the many exhibitions of great public and private
admiration, and the praises that her performances constantly evoked,
while of course affording her much pleasure, served mainly as impulses
to newer and higher efforts in her chosen and beloved profession. Nor
was her disposition less tried by the many difficulties that often
formed in her pathway. Of these I need not speak here. But amidst
them all this noble lady and artist was ever brave, patient, hopeful,
ambitious in a certain sense, yet modest.
Fully aware of the magnificent quality of her voice, and of its
phenomenal character; singing a higher and a lower note than either of
her great contemporaries,--Parodi, Kate Hayes, and Jenny Lind,--she
yet did not rest content, as most persons under the same circumstances
would have done, with the enthusiastic plaudits elicited by her
performances, but diligently applied herself to a scientific
cultivation of a voice in natural power well-nigh marvellous, as well
as to acquiring a scholarly knowledge of the principles of general
music. In this commendable course she met with remarkable success,
considering the circumstances by which she was surrounded.
And now, quoting at times largely from her "Biography," I proceed to
give the following sketch of the career of this remarkable queen of
song.
Elizabeth Taylor Greenfield, better known perhaps by her musical
sobriquet, the "Black Swan," was born in Natchez, Miss., in the year
1809. When but a year old she was brought to Philadelphia by an
exemplary Quaker lady, by whom she was carefully reared. Between these
two persons there ever existed the warm affection that is felt by
mother and daughter. In the year 1844 this good lady died. In her will
the subject of this sketch was remembered by a substantial legacy. The
will, however, formed the subject of a long legal contest; and I
believe Miss Greenfield never received the bequest.
Her family name was Taylor; but, in honor of her guardian, she took
the latter's name,--Greenfield.
"Previous to the death of this lady, Elizabeth had become
distinguished in the limited circle in which she was known
for her remarkable powers of voice. Its tender, thrilling
tones often lightened the weight of age in one who was by
her beloved as a mother.
"By indomitable perseverance she surmounted difficulties
almost invincible. At first she taught herself crude
accompaniments to her songs, and, intuitively perceiving the
agreement or disagreement of them, improvised and repeated,
until there was heard floating upon the air a very 'lovely
song of one that had a pleasant voice, and could play well
upon a guitar.'
"There dwelt in the neighborhood of Mrs. Greenfield a
physician, humane and courteous; capable, too, of
distinguishing and appreciating merit and genius, under
whatever prejudices and disadvantages they were presented.
His daughter, herself an amateur in the science of
harmonious sounds, heard of Elizabeth's peculiar structure
of mind. Miss Price invited her to her house. She listened
with delighted surprise to her songs. She offered to
accompany her upon the guitar. This was a concurrence of
circumstances which formed the era of her life. Her pulses
quickened as she stood and watched the fair Anglo-Saxon
fingers of her young patroness run over the keyboard of a
full-toned piano-forte, eliciting sweet, sad, sacred, solemn
sounds. Emotion well-nigh overcame her; but the gentle
encouragement of her fair young friend dissipated her fears,
and increased her confidence. She sang; and before she had
finished she was surrounded by the astonished inmates of the
house, who, attracted by the remarkable compass and
sweetness of her voice, stealthily entered the room, and now
unperceived stood gathered behind her. The applause which
followed the first trial before this small but intelligent
audience gratified as much as it embarrassed her, from the
unexpected and sudden surprise. She not only received an
invitation to repeat her visit, but Miss Price, for a
reasonable compensation, undertook her instruction in the
first rudiments of music. The progress of genius is not like
that of common minds. It is needless to say that her
improvement was very rapid."
But the lessons above mentioned were taken quite privately, and
without, at first, the knowledge of her guardian. Elizabeth was
rapidly acquiring an acquaintance with music, when some one
maliciously informed Mrs. Greenfield, with the expectation of seeing
an injunction laid upon the pupil's efforts. The old lady sent for
Elizabeth, who came tremblingly into her presence, expecting to be
reprimanded for her pursuit of an art forbidden by the Friends'
discipline. "Elizabeth," said she, "is it true that thee is learning
music, and can play upon the guitar?"--"It is true," was her reply.
"Go get thy guitar, and let me hear thee sing." Elizabeth did so; and,
when she had concluded her song, she was astonished to hear the kind
lady say, "Elizabeth, whatever thee wants thee shall have." From that
time her guardian was the patroness of her earnest efforts for skill
and knowledge in musical science.
She began to receive invitations to entertain private parties by the
exhibition of the gift which the God of nature had bestowed.
"Upon the death of her patroness, in consequence of the
contested will she found herself thrown upon her own
resources for a maintenance. Remembering some friends in the
western part of New York, she resolved to visit them. While
crossing Lake Seneca, _en route_ to Buffalo, there came
sweetly stealing upon the senses of the passengers of the
steamer her rich, full, round, clear voice, unmarred by any
flaw. The lady passengers, especially the noble Mrs. Gen.
P., feeling that the power and sweetness of her voice
deserved attention, urged her to sing again, and were not
satisfied until five or six more songs were given to them.
Before reaching their destined port she had made many
friends. The philanthropic Mrs. Gen. P. became her friend
and patroness. She at once invited Elizabeth to her splendid
mansion in Buffalo, and, learning her simple story, promptly
advised her to devote herself entirely to the science of
music. During her visit a private party was given by this
lady, to which all the _élite_ of the city were invited.
Elizabeth acquitted herself so admirably, that, two days
later, a card of invitation came to her through the public
press, signed by the prominent gentlemen of Buffalo,
requesting her to give a series of concerts.
"In October, 1851, she sang before the Buffalo Musical
Association; and her performances were received with marks
of approbation from the best musical talent in the city,
that established her reputation as a songstress. 'Give the
"Black Swan,"' said they, 'the cultivation and experience of
the fair Swede or Mlle. Parodi, and she will rank favorably
with those popular singers who have carried the nation into
captivity by their rare musical abilities. Her voice has a
full, round sound, and is of immense compass and depth. She
strikes every note in a clear and well-defined manner, and
reaches the highest capacity of the human voice with
wonderful ease, and apparently an entire want of exertion.
Beginning with G in the _bass clef_, she runs up the scale
to E in the _treble clef_, and gives each note its full
power and tone. She commences at the highest note, and runs
down the scale with the same ease that she strikes any other
lower note. The fact that she accomplishes this with no
apparent exertion is surprising, and fixes at once the
marvellous strength of her vocal organs. Her voice is wholly
natural, and, as might be expected, lacks the training and
exquisite cultivation that belong to the skilful Italian
singer. But the _voice_ is there; and, as a famous maestro
once said, "it takes a hundred things to make a complete
singer, of which a good voice is ninety-nine." If this be
so, Miss Greenfield is on the verge of excellence; and it
remains for the public to decide whether she shall have the
means to pursue her studies.'"
To several gentlemen in Buffalo belongs the credit of having first
brought out Miss Greenfield in the concert-room. The Buffalo papers
took the matter in hand, and assured the public they had much to
expect from a concert from this vocalist. The deep interest her first
public efforts elicited from them gave occasion to the following
certificate:--
BUFFALO, Oct. 30, 1851.
Mr. H.E. HOWARD.
_Dear Sir_,--At your suggestion, for the purpose of enabling
Miss Elizabeth T. Greenfield to show to her Philadelphia
friends the popularity she has acquired in this city, I
cheerfully certify as follows:--
The concert got up for her was unsolicited on her part, and
entirely the result of admiration of her vocal powers by a
number of our most respectable citizens, who had heard her
at the residence of Gen. Potter, with whose family she had
become somewhat familiar. The concert was attended by an
audience not second in point of numbers to any given here
before, except by Jenny Lind; and not second to any in point
of respectability and fashion. The performance of Miss
Greenfield was received with great applause; and the
expression since, among our citizens generally, is a strong
desire to hear her again.
Respectfully yours, &c.,
G. REED WILSON.
Rochester next extended an invitation for her to visit that city. We
copy the invitation:--
"The undersigned, having heard of the musical ability of
Miss Elizabeth T. Greenfield of the city of Buffalo, and
being desirous of having her sing in Rochester, request that
she will give a public concert in this city at an early day,
and feel confident that it will afford a satisfactory
entertainment to our citizens." (Signed by a large number of
the most respected citizens of Rochester.)
ROCHESTER, Dec. 6, 1851.
This evening, in Corinthian Hall, the anticipated
entertainment is to be presented to our music-loving
citizens. Curiosity will lead many to attend, to whom the
performance of a colored prima donna is a phenomenon at once
wonderful and rare. Miss Greenfield has received from all
who have heard her the name of being a vocalist of
extraordinary power.
Speaking of her concert in Buffalo, "The Express" says,--
"On Monday, Parodi in all her splendor, sustained by Patti
and Strakosch, sang at Corinthian Hall to half a house. Last
night Miss Greenfield sang at the same place to a crowded
house of the respectable, cultivated, and fashionable people
of the city. Jenny Lind has never drawn a better house, as
to character, than that which listened with evident
satisfaction to this unheralded and almost unknown African
nightingale. Curiosity did something for her, but not all.
She has merit, very great merit; and with cultivation
(instruction) she will rank among the very first vocalists
of the age. She has a voice of great sweetness and power,
with a wider range from the lowest to the highest notes than
we have ever listened to: flexibility is not wanting, and
her control of it is beyond example for a new and untaught
vocalist. Her performance was received with marked
approbation and applause from those who knew what to
applaud."
Another city paper says,--
"Much has been said and written of this personage since she
was introduced to the public as a musical prodigy. All sorts
of surmises and conjectures have been indulged in respecting
the claim put forth of her merit; and generally the
impression seemed to prevail, that the novelty of 'color'
and idle curiosity accounted more for the excitement raised
than her musical powers. Well, she has visited our place,
and given our citizens an opportunity of judging for
themselves. We are ignorant of music, and unqualified to
criticise. But a large audience was in attendance at
Ringueberg Hall last evening: among those present were our
musical amateurs; and we heard but one expression in regard
to the new vocalist, and that was wonder and astonishment at
the extraordinary power and compass of her voice; and the
ease with which she passed from the highest to the lowest
notes seemed without an effort. Her first notes of 'Where
are now the hopes?' startled the whole audience; and the
interchange of glances, succeeded by thunders of applause at
the end of the first verse, showed that her success was
complete. She was loudly encored, and in response sang the
baritone, 'When stars are in the quiet sky,' which took down
the whole house.
"We have neither time nor space to follow her through her
different pieces. Suffice it to say, that there never was a
concert given in this town which appeared to give more
general satisfaction; and every person we met on leaving
the hall expressed their entire approbation of her
performance. No higher compliment could be paid to the
'Swan' than the enthusiastic applause which successfully
greeted her appearance, and the encore which followed her
several pieces.
"There was a very general expression among the audience that
the sable vocalist should give another concert; and, at the
earnest solicitation of several of our citizens, Col. Wood,
her gentlemanly manager, has consented to give another
entertainment to-morrow evening, when the 'Black Swan' will
give a new programme, consisting of some of Jenny Lind's
most popular songs.