the writer might occupy many more pages in narrating the many
important events connected with the life of Mr. Holland as a
distinguished member for years of the order of Free Masons. We may be
allowed to mention incidentally, that his reputation as one of the
"noble craft" is even greater than his reputation as a musician. It
is more nearly world-wide; for we find that as a Mason he is well
known in the South and West of this country, and in South America,
Italy, Germany, and France. A sketch of his life, together with his
portrait, was published at Vienna, Austria, in the illustrated monthly
"Der Freimaurer" ("The Freemason"), in the number for February, 1877.
From this journal I learn that Mr. Holland has been a most active and
indispensable member of Excelsior Lodge No. 11 of Cleveland (which he
assisted in forming in 1865), and of the Grand Lodge of Ohio. In the
former he has held the offices of Secretary and Junior Warden; and in
the latter he first served two terms (declining a third) as Worshipful
Master, and afterwards was elected Senior Grand Deacon, Deputy Grand
Master, Deputy Grand High Priest, of the Grand Chapter of Royal Arch
Masons for Ohio,--serving three terms,--and Most Excellent Grand High
Priest. In conducting the foreign correspondence of the Grand Lodge,
Mr. Holland has for a number of years performed a most invaluable
service. In this work, his familiar acquaintance with the French,
Spanish, German, Italian, and Portuguese languages was put to uses the
most important, as through the same, and his very intelligent and
painstaking management, the colored Masons of Ohio have been fully
recognized by, and brought into communication with, the Grand Lodges
of France, Peru, Germany, Portugal, and Spain. Mr. Holland has also
been appointed the representative in this country of the Grand Lodges
of France and Peru, each appointment a very rare distinction. He has
several times received complimentary mention in the addresses of the
Grand Masters of the Ohio Lodge; and in 1866 he was the recipient
from the members of the latter of a set of highly eulogistic
resolutions, and of a valuable gold watch appropriately inscribed. All
these honors were tendered as earnest tokens of the high estimation in
which he was held by the brotherhood for the skill and zeal he had so
often displayed in serving a cause founded on the noble principles of
faith, hope, and charity.
What a busy, what a useful, honorable life, have we been following! It
is hoped that the reader has been entertained and instructed by even
this far from perfect unfolding of the same. As for the writer, he
leaves its present consideration with feelings of affectionate regret;
while he would fain remain to study again and again the valuable
lessons that it teaches, and to watch with unabated interest the
fortunes of its future. May the latter bring to our noble friend and
artist as little of disappointment as may be! and when the end shall
finally come, as come it must some day to all, may he have, as a
crowning and sweet reward for the manly, the heroic past, a sleep like
that of him who "lies down to pleasant dreams"!
IX.
THOMAS J. BOWERS,
TENOR-VOCALIST;
OFTEN STYLED
THE "AMERICAN MARIO."
"Sweet is every sound;
Sweeter thy voice."
TENNYSON.
Thomas J. Bowers, who, owing to his resembling in the magnificent
quality of his voice that celebrated Italian singer, has been styled
by the press the "American Mario," was born in Philadelphia in the
year 1836.
[Illustration: THOMAS J. BOWERS.]
When quite a lad he evinced a decided fondness for music, and much
musical talent. His father, a man of considerable intelligence, and
for twenty years the warden of St. Thomas's P.E. Church in
Philadelphia, being desirous that his children should learn music,
first procured a piano and an instructor for his eldest son, John C.
Bowers; intending, after he became competent so to do, that he should
teach the other children. This purpose was accomplished; and our
subject was instructed by his brother to perform upon the piano-forte
and organ. At eighteen he had become somewhat proficient in the
playing of these instruments, and succeeded his brother as organist of
St. Thomas's Church.
I must not fail to mention here, that the younger of his two sisters,
Sarah Sedgwick [Transcriber's Note: spelled 'Sedgewick' elsewhere]
Bowers, became a fine singer. In the rendering of classical and all
operatic music she exhibited much talent, was of handsome appearance,
and elicited very complimentary notices from the press. I shall have
occasion to speak of this lady more at length hereafter.
The parents of the subject of this sketch, although highly pleased
with the natural musical qualities and with the accomplishments
displayed by their children, were such strict church people as not to
wish them to become public performers. Recognizing the pleasing,
refining influence of music, they desired its practice by their
children in the home-circle, for the most part; but were not averse,
however, to hearing its sweet and sacred strains issue from choir and
organ in church-services, nor to having their children take part in
the same.
The wishes of his much-loved parents Mr. Bowers respected. For this
reason he refused to join the famous "Frank Johnson's band" of
Philadelphia, although strongly urged by its director; and all offers
made to him to join other public organizations were declined for a
long time.
But his very rare powers as a tenor-vocalist were those which previous
to the attainment of his majority had most attracted the attention and
excited the admiration of many persons. Indeed, his voice was
considered as something extraordinary in its power, mellowness, so to
speak, and its sweetness.
Thus endowed, it was not possible, in the nature of things, that he
should remain only a singer in private; and so, at Sansom-street Hall,
Philadelphia, in 1854, he was induced to appear with the "Black Swan"
as her pupil.
Although it was not at this concert that he made his first public
"hit," as it is called, yet the press of Philadelphia spoke of his
performances on that occasion in the most flattering terms, and called
for a repetition of the concert. This was given, our subject meeting
with still greater success. At this time, one of the critics, in
commenting on the voice and style of singing of Mr. Bowers, called him
the "colored Mario." Considering the almost if not quite peerless
position then held in the musical world by the distinguished Italian
tenor, Mario, this was a most strikingly favorable comparison. But our
artist was so modest as to doubt that he merited such high praise. The
press, however, generally persisted in styling him the "colored
Mario," the "American Mario," &c.; and by these sobriquets he is most
known to-day.
Col. Wood, once the manager of the Cincinnati Museum, hearing of the
remarkable singing qualities of Mr. Bowers, came to Philadelphia to
hear him. He was so much pleased, that he entered into an engagement
with him to make a concert tour of New-York State and the Canadas.
This was in company with Miss Sarah Taylor Greenfield [Transcriber's
Note: Elizabeth Taylor Greenfield], the famous songstress. The great
vocal ability as well as the novelty formed by the complexions of this
couple produced quite a sensation, and secured for them great success
wherever they appeared.
During this tour Col. Wood wished Mr. Bowers to appear under the
title of the "_Indian_ Mario," and again under that of the "_African_
Mario." He withheld his consent to the use of either of these names,
but adopted that of "Mareo." This he has since retained as his
professional cognomen.
Mr. Bowers was induced to engage in public performances more for the
purpose of demonstrating by them the capacity of colored persons to
take rank in music with the most highly cultured of the fairer race
than for that of making a mere personal display of his highly-rated
musical abilities, and for the attainment of the enjoyment which they
would naturally be supposed to afford him.
Writing to a friend, he thus speaks of the principle that governed
him:--
"What induced me more than any thing else to appear in
public was to give the lie to 'negro serenaders'
(minstrels), and to show to the world that colored men and
women could sing classical music as well as the members of
the other race by whom they had been so terribly vilified."
Nor would he ever yield to that mean and vulgar prejudice, once so
prevalent, but now happily disappearing, which either sought to
prevent colored persons from entering at all the public-amusement
hall, or else to force them to occupy seats near the entrance, or away
up in the gallery. All must be treated alike, or he would not sing. As
illustrating this characteristic, I give the following incident
connected with the concert tour in Canada:--
In Hamilton, a Dr. Brown purchased for himself and some friends six
reserved-seat tickets, at a cost of one dollar each. After he had done
so, Mr. Bowers's agent was informed by the proprietor of the hall in
which the concert was to be held that "colored people were not
admitted to first-class seats in Canada." This created much
excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood
that he would not sing, if he refused to admit the doctor's party on
the terms implied by his tickets; that if, after entering, there
should be any attempt to oust them, he would assist them; and that he
did not leave his home to encourage such mean prejudice. This noble
stand against unjust discrimination resulted in granting to Dr. Brown
the seats for which he had purchased tickets; and, after this time, no
attempt was made to exclude colored persons from the concerts of the
troupe.
Mr. Bowers, during his career, has sung in most of the Eastern and
Middle States; and at one time he even invaded the slavery-cursed
regions of Maryland. He sang in Baltimore, the papers of which city
were forced to accord to him high merit as a vocalist.
When we consider the high ideal cherished from the very commencement
of his career by our subject, it is not surprising that his musical
performances have never been marred by the singing of other than
classical or the best music. He does sing, at times, songs in the
ballad form; but these are always of the higher class, and such as
would be adopted by any first-class singer. His _repertoire_ is
composed of most all the songs for the tenor voice in the standard
operas and oratorios. He sings with fine effect such gems as "Spirito
Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;"
and "How so Fair," from "Martha."
Mr. Bowers resides at present in Philadelphia, and is a little past
forty years of age. He sings as well now as ever; some think better
than ever. He appears occasionally in public, but only in company with
the first artists, as he firmly believes in maintaining always for
himself and others a high musical standard. His voice ranges within a
semitone of two octaves.
He is a man of decidedly handsome form, and of graceful, pleasing
stage appearance; is, indeed, an ideal tenor, and a real artist.
I append, from among the many press-notices that have appeared during
his career, the few that follow.
"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the
Sansom-street Hall concerts, and alluding to some defects in the
manner of his gestures, thus speaks of the performances of our
subject:--
"He has naturally a superior voice, far better than many of
the principal tenors who have been engaged for star opera
troupes. He has, besides, much musical taste."
"The Boston Journal" said,--
"The tenor of this troupe (Mr. Bowers) possesses a voice of
wonderful power and beauty."
Another paper said,--
"As most of our citizens have heard the 'colored Mario,' it
is unnecessary for us to speak of his singing, as it is
generally admitted that his tenor is second to none of our
celebrated opera-singers."
Another said,--
"The concert given by the Sedgwick Company was a great
success.... 'Mario's' fine tenor voice was never more
feelingly exercised, nor more rapturously encored."
Again he is thus highly praised:--
"The 'colored Mario's' voice is unequalled by any of the
great operatic performers."
A Montreal paper said,--
"'Mario' is a very handsome specimen of his race, and has a
fine tenor voice.... He, too, was repeatedly encored, both
in his solo-pieces and in his duets with Miss Greenfield."
The true value of the foregoing comments from the press will be better
understood when the reader calls to mind the fact, that, when they
were made, Mr. Bowers had as contemporaries the wonderful Signor
Mario, the eminent "Swedish Nightingale," Jenny Lind, the not much
less charming songstress, Parodi, as well as several fine
tenor-singers connected with the Italian opera companies then
performing throughout this country. With such models as these to
elevate their tastes and guide their judgments, the critics knew well
the worth of all they said in praise of Mr. Bowers. Forming our
judgments, then, from what they did say of him (only a very few of
their highly favorable comments have here been given), we may safely
say that Mr. Bowers is to be ranked with the very first
tenor-vocalists of his time.
X.
JAMES GLOUCESTER DEMAREST,
GUITAR AND VIOLIN.
"Soft is the music that would charm forever."
WORDSWORTH.
The guitar, although not of sufficient power for general orchestral
purposes, is yet excellent for finished solo-playing, and as an
accompaniment to a voice. It was much used by the ancient troubadours,
its dulcet tones according well with their songs. In Italy and Spain,
in other parts of Europe, as well as in some sections of this country,
the guitar is much esteemed. It has always been the favorite
instrument of the serenading gallant; and to perform upon it,
previously to their more general adoption of the piano-forte, was
considered as an almost necessary accomplishment for the gentler sex.
Among the greatest of guitar-virtuosos that have lived may be
mentioned F. Sor, Fossa, Aguado, Giuliani, Carulli, Holland, Douglass:
and, as comparing favorably with these, I may mention Demarest, of
whom I shall now briefly speak.
Mr. Demarest, for many years a resident teacher of Boston, was one of
the finest guitar-performers in the United States, and, I believe,
had only a few equals in the world. With him the numerous guitar
"pickers" of the country are not at all to be mentioned; for,
thoroughly educated in music, with rich natural gifts all fully
cultivated, giving to the instrument the closest, the most
conscientious study, and of long practice, he was thus enabled to draw
from it music of such richness and beauty, as few, before hearing his
playing, imagined it capable. He but rarely indulged himself or his
hearers in playing accompaniments to songs (the use, by the way, to
which the guitar is often put); but with masterly skill he ever aimed
to develop its fullest resources, and showed that, when in his hands
at least, the guitar could be rendered a solo instrument of very
noticeable power, as well as great sweetness of tone. At public and
private performances in Boston and elsewhere, Mr. Demarest has often
delighted audiences by fine interpretations of the best music
published.
He was also a proficient arranger of music for the guitar, and,
besides, composed some fine pieces for it. I do not know that any of
his works were ever published: I think they were not; they being
prepared simply to facilitate the progress of his pupils, and for his
own amusement.
It is said that on one occasion a prominent guitarist,--a teacher of
and writer for the guitar,--when asked to give his opinion of one of
Demarest's compositions, remarked that it was "too difficult for the
guitar." However this may have been, no one could say that it was too
difficult for the composer to perform; and, that being true, it ought
not to have been considered as beyond the possible reach of other
skilful players. Still the critic referred to may only have meant by
his remark that the piece was too difficult to become "popular." I
only mention the incident to show that Demarest always aimed high.
As a teacher of the guitar he took high rank with those who believed
in advancing its performance to the most elevated standards. He found
but few pupils, however, that were willing to give the instrument that
closeness of study, or who were possessed with that spirit of
patience, so necessary to render them remarkable performers. At the
almost marvellously skilful manipulations of the strings by their
teacher, they listened with the utmost delight; but some of them,
regarding him as one exceptionally endowed, despaired of ever being
able to follow him into those higher and fuller forms of
guitar-playing whither he ever earnestly strove to lead them. He
always insisted on a conscientious study of the instrument, and the
practice of only the best music, in order that his pupils might place
themselves on a much higher level than that occupied by the many who
contented themselves with merely "thumping" a simple, unvaried
accompaniment to the popular love-songs of the day.
Mr. Demarest was also a violinist of fair ability. In his performances
on the violin he evinced the same scholarly spirit as he did in his
other studies. He, however, but seldom performed upon the violin in
public, and but little in private, save for his own diversion. In
1874, while still a young man, bidding fair to rise to the highest
distinction as a musician, he died, deeply regretted by many, not more
on account of his high musical than his gentlemanly, genial qualities.
"Sweet Mercy! to the gates of heaven
This minstrel lead, his sins forgiven."
XI.
THOMAS GREENE BETHUNE,
OTHERWISE KNOWN AS
"BLIND TOM," THE WONDERFUL PIANIST
"Who ran
Through each mode of the lyre, and was master
Of all."
MOORE.
"Bright gem instinct with music."
WORDSWORTH.
He is unquestionably and conspicuously the most wonderful musician the
world has ever known. No one has ever equalled him in quickness and
depth of musical insight and feeling, nor in the constancy with which
he bears within himself, in all its fulness, that mysterious power
which can be called by no truer name than _musical inspiration_. He is
an absolute master in the comprehension and retention of all sound
(and in _all_ sound _he_ finds music); a being in whose sympathetic
soul lies the ready, the perfect correlative of every note of melody
in nature or in art that is caught by his marvellously sensitive ear.
We often speak of those who have an "ear for music." Here is a
musician who surpasses all others in all the world in the possession
of this quality; for his is a _perfect_ ear. You may sit down to the
piano-forte, and strike any note or chord or discord, or a great
number of them; and he will at once give their proper names, and,
taking your place, reproduce them. Complete master of the piano-forte
keyboard, he calls to his melodious uses, with most consummate ease,
all of its resources that are known to skilful performers, as well as
constantly discovers and applies those that are new. Under his
magnetic touch, this instrument may become, at his will, a
_music-box_, a _hand-organ_, a _harp_ or a _bagpipe_, a "_Scotch
fiddle_," a _church-organ_, a _guitar_, or a _banjo_: it may imitate
the "stump speaker" as he delivers his glowing harangue; or, being
brought back to its legitimate tones, it may be made to sing two
melodies at once, while the performer with his voice delivers a third,
all three in different time and keys, all in perfect tune and time,
and each one easily distinguishable from the other! It would be vain
to call such performances as these mere tricks. They are far, far
more; since they show a musical intuition, and an orderly disposition
and marshalling of the stores of the mind, quite beyond the powers of
the performer of mere musical tricks. But, even were they such, this
wonderful musician would not need to depend upon their performance for
the greatness of his fame; for there is no work of the great masters
too difficult for his easy comprehension and perfect rendering.
[Illustration: THOMAS GREENE BETHUNE.]
He remembers and plays full seven thousand pieces. In short, he plays
every piece that he has ever heard. How almost godlike (it cannot be
brought to human comparison) is this retentive, this _perfect_ memory,
as relating to all that is musical, or even unmusical, in sound!
Nor does he need to depend upon the music composed by others. His own
soul is full of harmony, endless in variety, and most ravishing. Take
from him, were it possible, all remembrance of the music written by
others, and he would still be an object of delight and amazement on
account of his matchless power in improvisation. Listen to his own
"Rain Storm," and you shall hear, first, the thunder's reverberating
peal, and anon the gentle patter of the rain-drops on the roof: soon
they fall thick and fast, coming with a rushing sound. Again is heard
the thunder's awful roar, while the angry winds mingle in the
tempestuous fray,--all causing you to feel that a veritable storm
rages without. After a while, the tempest gradually ceases; all is
calmness; and you look with wonder upon this musical magician, and
marvel that the piano-forte can be made to so closely imitate the
sounds made by the angry elements.
No one lives, or, as far as we know, has ever lived, that can at all
be compared with him. Only the musical heroes of mythology remind us
of him; for he is
"As sweet and musical
As bright Apollo's lute strung with his hair:"
And Ariel, Shakspeare's child of fancy, who on Prospero's island
constantly gave forth melodies of ever-varied, ever-enchanting
sweetness, filling all the air with delicious harmony,--that musical
spirit was but an anticipation of the coming of this actual wonder in
music. Of him an eloquent writer has beautifully said, "There is music
in all things; but 'Blind Tom' is the temple wherein music dwells. He
is a sort of door-keeper besides; and, when he opens the portals,
music seems to issue forth to wake the soul to ecstasy." The skilful
metaphysician or the psychologist pauses before him, completely
balked: they cannot classify this mind, human-like indeed in some
respects, yet in many others surpassing all humanity, and closely
approximating that which is godlike.
Some persons, it is true, judging from certain manifestations of his,
or from certain lack of manifestations, have had the temerity to say
that "Blind Tom" is an idiot. Out with the idea! Who ever heard of an
idiot possessing such power of memory, such fineness of musical
sensibility, such order, such method, as he displays? Let us call him
the embodiment, the soul, of music, and there rest our investigations;
for all else is futility, all else is vain speculation.
Thus have I alluded in a general way to the characteristics of this
most wonderful pianist. A more particular but brief sketch of his life
from infancy to manhood cannot but be interesting, not only to the
student in music, but to all classes of readers.
"Thomas Greene Bethune" (I am quoting from his biography),
"better known to the public as 'Blind Tom,' was born within
a few miles of the city of Columbus, Ga., on the
twenty-fifth day of May, 1849. He is of pure negro blood,
and was born blind. His first manifestation of interest in
any thing was his fondness for sounds; the first indication
of capacity, his power for imitating them. Musical sounds
exerted a controlling interest over him; but all sounds,
from the soft breathings of the flute to the harsh grating
of the corn-sheller, appeared to afford him exquisite
enjoyment. His power of judging of the lapse of time was as
remarkable as his power of remembering and imitating sounds.
Those who are familiar with clocks that strike the hours,
have observed, that, a few minutes before the clock
strikes, there is a sharp sound different from and louder
than the regular ticking. There was a clock in the house;
and every hour in the day, just precisely when that sound
was produced, Tom was certain to be there, and remain until
the hour was struck.
"He exhibited his wonderful musical powers before he was two
years old. When the young misses of the family sat on the
steps of an evening, and sang, Tom would come around and
sing with them. One of them one evening said to her
father,--
"'Pa, Tom sings beautifully; and he don't have to learn any
tunes: he knows them all; for, as soon as we begin to sing,
he sings right along with us.'
"Very soon she said,--
"'He sings fine seconds to any thing we sing.'
"His voice was then strong, soft, and melodious. Just before
he had completed his second year he had the whooping-cough,
from the effects of which his voice underwent an entire
change; it became and continued for years exceedingly rough
and harsh, though it did not affect the taste or correctness
of his singing.