Institution, Beaumont Square, Mile End, London, at Mr.
Cotton's concert, supported by Miss Poole, the Misses
M'Alpine, Miss Alleyne, Mr. Augustus Braham, Mr. Suchet
Champion, Mr. Charles Cotton, the German Glee Union, and the
East-Indian violinist M. de Valadares; conductor, Herr
Ganz."
* * * * *
"Nov. 3, 1853, at Albion Hall, Hammersmith, she made her
appearance under the patronage of her Grace the Duchess of
Sutherland, her Grace the Duchess of Norfolk, her Grace the
Duchess of Beaufort, her Grace the Duchess of Argyll, the
Most Noble the Marchioness of Aylesbury [Transcriber's Note:
Ailesbury], the Most Noble the Marchioness of Kildare, the
Most Noble the Marquis of Lansdowne, Earl and Countess of
Shaftesbury, Earl of Carlisle, Countess of Jersey, Countess
of Granville, Countess of Wilton, Viscountess Palmerston,
the Lady Constance Grosvenor, and Mrs. Harriet Beecher
Stowe.
"_Artists._--Miss E.T. Greenfield, Miss J. Brougham, Miss E.
Brougham, Mr. Charles Cotton, Mr. Augustus Braham the
eminent tenor; piano-forte, Miss Eliza Ward."
* * * * *
"At the Theatre Royal, Lincoln, Dec. 23, 1853, under the
same distinguished patronage as at Hammersmith.
"_Artists._--Mrs. Alexander Newton (of her Majesty's Grand
National Concerts), Miss Ward, Miss E.T. Greenfield, Mr.
Augustus Braham, Mr. Charles Cotton (from Milan), Mr.
Distin."
* * * * *
"Again: to verify the fact of her having received the
attention of very distinguished personages, the following
certificates are laid before the reader:--
"'Sir George Smart has the pleasure to state that her
Majesty Queen Victoria commanded Miss Greenfield to attend
at Buckingham Palace on May the 10th, 1854, when she had the
honor of singing several songs, which he accompanied on the
piano-forte.
"'To Miss GREENFIELD, from Sir GEORGE SMART, Kt.,
"'Organist and Composer to her Majesty's Chapel Royal.
"'June 24, 1854. No. 91, GR. PORTLAND ST., LONDON.'
"'This is to certify that Miss Greenfield had the honor of
singing before her Majesty the Queen at Buckingham Palace.
By her Majesty's command,
"'C.B. PHIPPS.
"'BUCKINGHAM PALACE, July 22, 1854, LONDON.'"
* * * * *
"In May, 1854, she received an invitation through the Rev.
Mr. Geary to sing at a concert, but declined, being advised
not to sing at public concerts until her return to the
United States. She therefore sang only at private parties
until July, 1854, when that same noble benefactress, the
Duchess of Sutherland, secured for her two places in 'The
Indiana' steam-packet for New York.
"With a warm invitation to revisit England at some future
period, she embarked at Southampton to return to America."
The trip to London and its attendant circumstances resulted in much
benefit to Miss Greenfield in an intrinsic, artistic sense, adding
decided _éclat_ to her professional reputation. "The New-York Herald,"
a journal which in those days was generally quite averse to bestowing
even well-merited praise upon persons of her race, was, however, so
much moved upon by her exhibition of an increased technical knowledge
of the lyric art as to speak of Miss Greenfield as follows: "'The
Swan' sings now in true artistic style, and the wonderful powers of
her voice have been developed by good training." This was but echoing
the general verdict.
During the years that intervened between Miss Greenfield's return from
England and her death,--the latter event occurring at Philadelphia in
the month of April, 1876,--she was engaged in singing occasionally at
concerts, and in giving lessons in vocal music.
Remembering her own hard contests as she ascended the hill of fame,
Miss Greenfield ever held out a helping hand to all whom she found
struggling to obtain a knowledge of the noble art of music.
Possessing, on account of her great vocal abilities, the high esteem
of the general public, from a rare amiability of disposition enjoying
the warm love of many friends in those private circles where she was
always an ornament and a blessing, this wonderfully gifted lady at the
age of sixty-eight years died, deeply mourned by all. Of her brilliant
career, of her life, which, in many important respects, was so grandly
useful, as well as of her peaceful death, nothing more need here be
added, further than to place her name in the honorable list of those
of whom Milton so eloquently says,--
"Nothing is here for tears; nothing to wail,
Or knock the breast; no weakness, no contempt,
Dispraise, or blame; _nothing but well and fair_,
And what may quiet us in a death so noble."
VI.
THE "LUCA FAMILY,"
VOCALISTS AND INSTRUMENTALISTS.
"God sent his singers upon earth
With songs of sadness and of mirth,
That they might touch the hearts of men,
And bring them back to heaven again....
But the great Master said, 'I see
No best in kind, but in degree:
I gave a various gift to each,--
To charm, to strengthen, and to teach.'"
_From_ LONGFELLOW'S _The Singers_.
While nearly all persons have to a greater or lesser degree musical
sympathy and capability, or, to speak generally, capacity for the
enjoyment or production, in one way or another, of harmony; and while,
too, a goodly number there are who possess what may be called musical
aptitude,--it is yet only once in a great while that we find those who
are thus endowed in a degree which may be considered extraordinary.
For the Muses, however often and earnestly invoked, are never lavish
in the bestowment of their favors. This is especially true as applied
to the goddess who presides over the art of music. Only here and there
is some one selected to whom is given great musical inspiration;
into whose keeping is placed the divine harp, which, when swept by his
hands, the people shall hear entranced.
[Illustration:
1. ALEXANDER C. LUCA, SEN.
2. CLEVELAND O. LUCA.
3. ALEXANDER C. LUCA, JUN.
4. JOHN W. LUCA.]
Occasionally we may observe in families one member who appears
particularly favored by nature in the possession of rich and varied
musical talents, the same being improved by careful cultivation. Such
a one readily attracts attention: his native endowments and his
extensive acquirements often form the theme of conversation, of
warmest praise; while everywhere he is a most welcome guest. But, if
in a family a single instance of this kind produces the effects just
described, the latter can but be greatly enhanced when is found a
family composed of a number of persons in no wise small, each one of
which is a highly-talented and finely-educated musician. It is,
however,--for the reasons already mentioned,--so rare a thing to see
the musical faculty thus possessed, and its advantages thus fully
embraced, by an entire household of nearest relatives, as to render
the circumstance a cause of much surprise; while a family so greatly
skilled in the most beautiful, the most charming, of all arts, easily
attains to high distinction, its members becoming objects of such
general private and public interest as to render their careers quite
worthy of the best efforts of those who would make the same a matter
of history.
The foregoing remarks, although made in a somewhat general way, may be
particularly applied to that excellent troupe of artists, the "Luca
family," a brief account of whose remarkable natural endowments,
superior acquirements, and interesting musical life, is here appended.
The family, as at first professionally organized, consisted of six
persons,--the father, mother, and four sons. Some changes that
occurred afterwards will appear as the narrative progresses.
Alexander C. Luca, the father, whose history shows most pointedly how
much may be accomplished by devoted study, deserves especial mention.
He was born in Milford, Conn., in the year 1805. He is, in the most
proper sense, a "self-made" man. Possessing but few opportunities for
acquiring an education, he yet made the most of those he had, and is
to-day a man of varied culture, an excellent example of the Christian
gentleman. At the age of twenty-one years he apprenticed himself to a
shoemaker, having previously spent his life upon a farm; and, while
thus engaged, he showed a decided taste for music. In the shop where
he worked were several boys who were learning the trade, and who were
also members of the village singing-school. Going occasionally into
their school, listening eagerly to all they sang and talked about both
there and in the shop, he soon learned their songs, and was induced by
the surprised teacher to join the school. In a short time, by the aid
of a naturally musical ear and a good voice, and by diligent study of
the rudiments, he became quite a proficient scholar; surpassing, in
fact, most of the other pupils of the school.
After learning his trade he removed to New Haven, Conn., where after a
while he was married to a lady of fine musical qualities (she being
especially remarked as a singer), and who was also of a musical
family. Soon after his arrival at New Haven, Mr. Luca, having acquired
by this time quite a fine knowledge of music, and being an excellent
vocalist, was chosen chorister of a Congregationalist church. In a
short time his choir was considered the equal of any in the city;
which was high but well-deserved praise. Some time previously to the
formation of what was called professionally the "Luca family," the
subject of this sketch organized a quartet consisting of Miss Dianah
Lewis,[11] a sister of his wife, his two older sons, and himself, and
gave in New Haven and vicinity a number of fine concerts. Mr. Luca
trained all his children in music at an early age, and taught them to
sing in his choir at the church.
[Footnote 11: She was a vocalist of rare powers, and was considered
the equal of the celebrated Miss Greenfield, or, as the latter was
frequently called, the "Black Swan."]
Mrs. Luca heartily sympathized with, and aided her husband in, the
musical and general culture of the family. One of the sons thus speaks
of her: "Our earlier taste for music was especially encouraged by our
mother, who thought that the study of it would claim us from the bad
influences which idle hours and mischievous associations engendered."
With such parents it is not strange that the Luca children became so
worthy and eminent as exponents of the art of music.
John W. Luca, the oldest son, when quite young, was remarkable,
mostly, as a comic singer. He sang frequently at school exhibitions,
and often created much sensation in singing a temperance song called
"The Old Toper."
Alexander C., jun., who in after-years became so noticeable as a
tenor-singer and violinist, was at first the dullest of the boys.
Simeon G. possessed a tenor voice of extraordinary compass, singing
high C with the greatest ease. He sang the choicest music from the
various operas to astonished and delighted audiences. He was also a
solo violinist of rare powers; often thrilling his audiences by the
smooth, sweet, and expressive strains evolved from his instrument.
Cleveland O. Luca, the justly celebrated, the wonderful pianist, began
to exhibit extraordinary talent at the early age of seven years. It
was not, however, the intention of his parents to have him begin to
study so early. Indeed, little did they think that the fire of musical
genius burned so brightly in the soul of their young boy. But
Cleveland, or "Cleve" as he was then called, was not to be restrained.
Going often into the room where his aunt was playing on the
piano-forte, he listened eagerly and delightedly, his little soul
stirred and filled by the sweet sounds of harmony; and, after she had
left the instrument, he would go and play the selections even better
than his aunt. Of course such striking evidences of genius filled the
breasts of his parents with delightful surprise; and it was soon
decided to place the gifted boy under the care of a competent
instructor. He rapidly developed those remarkable powers for ready
reading, facility and brilliancy in execution, that afterwards made
him so wonderful and so noted.
When but ten years old, he had become a performer of such excellence
as to attract the notice and to receive the unequivocal praise of such
good judges as Strakosch, Dodworth, W.V. Wallace, and other noted
musicians of New York.
When it was resolved to form as public performers the "Luca family,"
the decided musical powers possessed by young Cleveland made his
services indispensable, and he was of course taken as a member. As
the "wonderful boy pianist," he everywhere created quite a _furore_.
The ladies in the audiences were especially delighted with him; and
forgetting often, in their enthusiasm, that he was black, it seemed
that they would certainly carry him away.
Never satisfied to rest alone upon his fine natural endowments, our
young artist pushed his studies, entering the classical, the technical
domain of the great master-composers, and playing with easy, graceful,
magnetic touch, and delightfully winning expression, any of their
works. As a reader at sight of compositions the most difficult, it is
doubtful whether he had an equal in this country.
The prejudiced or incredulous, before having observed his rare powers
for reading and playing, often as a test, and sometimes with a hope to
embarrass him, placed before him some technical and very difficult
work. But the readiness with which he played the piece changed one who
had come to doubt or to scorn into a silent, deeply surprised, and
interested listener; and it was most always the case, too, that such a
one, yielding to the exquisite charm of the music, as well as to the
gentlemanly, graceful manners of the young virtuoso, became from that
time forth his warm admirer and friend.
But this brilliant artist did not confine himself to the
interpretation of the more difficult compositions for the piano. At
the time of which I am writing,--twenty years ago,--his success as a
performer before miscellaneous audiences could not have been so great,
had he not possessed, in a most pleasing degree, a versatility of
talent. His _repertoire_ was an extensive one, and decidedly "taking"
in the varied character of its excellent pieces. Many of the latter
were simple, yet always purely musical, and of course highly pleasing.
Before the public, Mr. Luca was, in the best sense, a successful
performer; while, in those smaller and finer artistic circles where
the more delicate and higher musical forms were appreciated, he
delighted and even instructed his listeners, receiving their warmest
praise.
_True_ art is ever noble and ennobling: in its domain its devotees are
known and valued, not by the color of their faces, but by the depth of
artistic love that they feel, and by the measure of success to which
they attain. And so the subject of this sketch, although of a
complexion quite dark, and often suffering from the coldness, if not
the insults, of those afflicted with "color-phobia," was yet ever
sought after and cordially received upon terms of equality by all the
_great_ musicians wherever he journeyed. Nor did the press of the
country, nor people of culture generally, fail to pass upon him the
highest encomiums. A few of these are elsewhere given.
Besides his ability as a pianist, Cleveland Luca was also a vocalist
of fair powers. No especial pains being taken, however, to develop
this faculty, he attracted, as a singer, no great attention.
On the 27th of March, 1872, in far-away Africa, whither he had nobly
gone to carry the bright, cheering, and refining light of his musical
genius, his frail constitution yielding to a fever, he died at the age
of forty-five.
It is hard to over-estimate the great good this remarkable artist
accomplished for his much-abused race in dissipating, by his wonderful
musical qualities, the unjust and cruel prejudice that so generally
prevailed against the former at the beginning of his career; for in
him was fully and splendidly illustrated the capacity of the dark-hued
race for reaching the highest positions in the walks of the art
melodious. The example, moreover, of his intelligent parents, who,
when they discovered his talents,--avoiding the mistake often made by
some, who, alas! but too frequently rest content merely with observing
the signs of genius in their children, allowing the at first bright
spark to go untended, to burn "with fitful glare," and to finally
become, from this neglect, extinguished,--devoted themselves at once
to their fullest and most artistic development,--this example, I say,
is one to be highly commended, and ever to be followed.
Having thus described the family individually, I now proceed to speak
of their combined efforts. Formed as a vocal quartet, the parts were
distributed in this wise: Simeon Luca sang first tenor, Alexander
second tenor, Cleveland soprano, and John sang bass (or baritone if
desired).
Instrumentally they performed as follows: Simeon on first violin,
Alexander second violin, John violoncello (or double bass if
required), and Cleveland on the piano-forte. The father fulfilled the
duties of musical director and business manager; and occasionally he
took part in the performances as a vocalist.
Thus excellently equipped musically, each member of the troupe
possessed of general intelligence, and being of genteel appearance,
they went forth on their mission of music into fields hitherto
untrodden by members of their race; and their fine performances
everywhere gave delight, refinement, and a new and high impulse, to
the many thousands who heard them.
Their services were at first called into requisition at anniversaries
and festivals, and they soon acquired an excellent local reputation.
The event that most prominently heralded their names before the public
was their first appearance at the May anniversary of the Antislavery
Society, held in the old Tabernacle on Broadway, New York, in 1853.
Over five thousand persons were present. The sensation produced by the
performances of this gifted family on this occasion is said to have
been indescribable. The wildest enthusiasm was manifested; and many
persons in the audience, overcome by the emotions awakened, shed
tears. This is, however, not so strange. Gathered as was this immense
concourse of people to advance the cause of human freedom, and
entertaining and asserting, as they did, a belief of man's equality,
we may well imagine the measure of their delight when in witnessing
the display of genius by the wonderful pianist, and listening to the
sweet strains of classical harmony formed by the tuneful voices and
skilfully-played instruments of this troupe of colored artists, they
found their claims for the race so fully sustained.
After the performances just mentioned, letters full of praise and
congratulation from many sources poured in upon the "Lucas," as they
were familiarly called; and Professor Allen, then editing a paper at
Troy, N.Y., induced the parents to intrust the children, now so
rapidly acquiring fame, to his charge, to make a musical trip through
the New-England States in the interest of his paper. This tour
resulted in adding to their fame, and confirming them in a belief of
their ultimate general success; but, owing to poor management on the
part of their business agent, the trip was not a financial success.
I should have mentioned ere this that John and Alexander Luca had been
taught by their father the shoemaking trade, and that for some time
they applied themselves to this kind of work; using their leisure
time, nevertheless, in pushing their musical studies. Occasionally
they would drop the awl and hammer, and make excursions into the
country towns of Connecticut; sometimes returning with a full
exchequer, and sometimes in debt even, but never without having added
to their reputations as musicians.
During these times, the family received many valuable testimonials
touching their musical abilities; but to none of these do they owe so
much as to a highly commendatory letter from the late Rev. Horace
Bushnell of Hartford, Conn. Such testimony from one so eminent, and of
critical abilities so great, could not fail to arrest public attention
in their behalf.
While travelling, the Luca family suffered greatly from the effects of
a cruel caste spirit then so much prevailing,--being often debarred
from hotels, and often denied decent accommodation in public
conveyances. But this barbarous treatment of those whose fine musical
qualities and genteel appearance and deportment--albeit they were of
dark complexions--gave them title to enter the very best places
aroused the sympathy and indignation of many persons. And so, amidst
all their disadvantages, the success and reputation of our artists
steadily increased, and the critics accorded them high rank as
musicians; Mason, Gottschalk, and others among the finest pianists of
the country, receiving Cleveland Luca, the pianist, as an equal.
In the year 1854 the family experienced a sad shock in the death of
Simeon G. Luca.
As before intimated, he was a vocalist and violinist of remarkable
powers; and professionally, as well as otherwise, his loss to the
troupe was a great one.
The vacancy occasioned by his death was filled by the engagement of
Miss Jennie Allen of New York. She proved to be a very valuable
acquisition to the troupe; for she possessed a rich contralto voice,
sang with excellent method, had a graceful, winning stage appearance,
and was well known in New York as a very fine pianist.
The quartet thus arranged then (in 1857) began to travel more
extensively, giving performances in the States of New York,
Pennsylvania, and Ohio, where their success artistically and
financially exceeded any thing before within their experience. Had
they so chosen, they might have visited all the free States with
assurance of good fortune. Wherever they went, the bitter
color-prejudice, the chilling doubtings, or the cold indifference,
displayed by those who had not heard these talented musicians, were
rapidly dispelled when on the stage they beheld their easy, graceful
appearance, and heard the delightful sounds of harmony that proceeded
from the voices and instruments of this accomplished quartet. The
writer well remembers the emotions of delight and pride that filled
his own breast when at this period, in Ohio, he witnessed for the
first time their performances. After their first concert, the town
became the scene of a most pleasant commotion. No such music had ever
before been heard there, and praises of the "Lucas" were on the lips
of all. The family were entertained at the residences of the first
citizens, who vied with each other in extending to them the most
complimentary attentions. In these homes of wealth and culture, where
the study and practice of choice music formed a portion of each day's
employment, these talented artists, surrounded by a selected company
of educated persons, shone even more brightly than when upon the
public stage; for here they could confine themselves to a rendition of
that higher class of music so suitable to their own tastes and powers,
as well as most welcome to their cultivated audience. But what befell
the Luca family in this town--the writer has mentioned somewhat
particularly this instance, because he happened to be a witness of the
same--is but a sample of the treatment they often received in other
places while travelling over the country.
As representing the estimate of the musical abilities of the Luca
family, held by the general press of the country during their concert
tours, and in order that it may be seen that my own praises of the
family are none too great, I give the following notice from a fair and
disinterested source; viz., "The Niagara Courier" of Lockport, N.Y.,
of Sept. 2, 1857:--
"THE LUCA FAMILY.