never heard a better performer. Like most people, of course,
I was inclined to regard this wonderful prodigy as a
wonderful humbug; but I assure you, that so far from this
being the case, or any thing like it, Tom is as genuine an
artist, and possesses as much (and, for any thing I can
tell, a great deal more) musical talent or power, either as
regards the execution of the compositions of others or of
his own, as either Thalberg, Halle, Madame Goddard, or
anybody else you ever listened to. I write merely to
disabuse your mind of the common impression which we are all
apt to form of these singular geniuses; and very strongly
recommend you not only to _hear_ him play, but privately
test him (as I have done) in any way you like. Improvise to
him as difficult or elaborate or out-of-the-way piece as you
please, and he will instantly reproduce it. Now, this is no
common gift; and therefore you and I, and all who know any
thing of music, should use our best efforts to let the
public know, that, so far from there being any thing in the
nature of clap-trap about Tom, he is, in fact, a musical gem
of the first water. Of course I have nothing to do with him;
but I have been so highly pleased with his performances,
that I thought it might be as well to let you know
beforehand (in case you have not already heard him) what my
own real impression is of him.'
"He not only repeats every piece he hears from memory, but
he improvises and composes; and he last night sang a song of
his own composition,--'Mother, dear mother, I still think of
thee,'--of great merit for its simple sweetness and pathos.
As he cannot possibly remain longer in Dundee than to-night,
we would earnestly urge upon all who can afford it the
absolute duty of seeing and hearing this wonderful blind
negro boy. He is only seventeen; but no man of any age could
surpass him for executive ability, as his testimonials from
such men as Moscheles, Halle, &c., prove. He performs two or
three different melodies at the same time, and plays with
his back to the piano with apparently as much ability as in
the ordinary position. We would especially recommend all who
are interested in anthropology, phrenology, and psychology,
to see and hear him for themselves. His ability is a
singular confutation of the theories of Hunt and Blake about
the inferiority of the negro; for we may challenge any white
man to compete with him, in perfect safety. His parallel is
not to be found the world over, nor in any time of which the
records are known."
As previously stated, Bethune plays full seven thousand pieces. From
the subjoined partial list, which I take from his biography, some idea
can be gained of the character, the ever-varied character, of the
music contained in his amazingly extensive _repertoire_.
[Illustration:
BLIND TOM'S CONCERTS.
PROGRAMME.
=Classical Selections.=
1. Sonata "Pathétique" _Beethoven_
2. " "Pastorale," Opus 28 "
3. " "Moonlight," 27 "
4. Andante _Mendelssohn_
5. Fugue in A minor _Bach_
6. " in G minor "
7. "Songs without Words" _Mendelssohn_
8. "Wedding March" "
9. Concerto in G minor "
10. Gavotte in G minor _Bach_
11. "Funeral March" _Chopin_
12. "Moses in Egypt" _Rossini_
=Piano-Forte Solos.=
13. "Trovatore," Chorus, Duet, and Anvil Chorus _Verdi_
14. "Lucrezia Borgia," Drinking Song (Fantasia) _Donizetti_
15. "Lucia di Lammermoor" "
16. "Cinderella," Non Più Meste _Rossini_
17. "Sonnambula," Caprice _Bellini_
18. "Norma," Varieties "
19. "Faust," Tenor Solo, Old Men's Song, and Soldiers'
Chorus _Gounod_
20. "Le Prophète" _Meyerbeer_
21. "Linda"
22. "Dinora" _Meyerbeer_
23. "Bords du Rhine"
24. "La Montagnarde"
25. "Shells of the Ocean"
26. "La Fille du Régiment" _Donizetti_
=Fantasias and Caprices.=
27. Fantasia, "Home, Sweet Home" _Thalberg_
28. " "Last Rose of Summer" "
29. Fantasia, "Lily Dale," for left hand _Thalberg_
30. " "Ever of Thee," &c. "
31. " "Carnival de Venise" "
32. Reverie. "Last Hope" _Gottschalk_
33. La Fontaine
34. "Whispering Winds"
35. "Caprice" _Liszt_
36. Fantasia, "Old Hundredth Psalm"
37. "Auld Lang Syne," and "Listen to the Mocking-Bird"
(Piano-Forte Imitations of the Bird) _Hoffman_
=Marches.=
38. March, "Delta Kappa Epsilon" _Pease_
39. "Grand March de Concert" _Wallace_
40. "Gen. Ripley's March"
41. "Amazon March"
42. "Masonic Grand March"
=Imitations.=
43. Imitations of the Music-Box.
44. " " Dutch Woman and Hand-Organ.
45. " " Harp.
46. " " Scotch Bagpipes.
47. " " Scotch Fiddler.
48. " " Church Organ.
49. " " Guitar.
50. " " Banjo.
51. " " Douglas's Speech.
52. " " Uncle Charlie.
53. Produces three melodies at the same time.
=Descriptive Music.=
54. "Cascade"
55. The Rain Storm _Blind Tom_
56. The Battle of Manassas "
=Songs.=
57. "Rocked in the Cradle of the Deep"
58. "Mother, dear Mother, I still think of Thee"
59. "The Old Sexton"
60. "The Ivy Green"
61. "Then you'll remember Me"
62. "Scenes that are Brightest"
63. "When the Swallows homeward fly"
64. "Oh! whisper what Thou feelest"
65. "My Pretty Jane"
66. "Castles in the Air"
67. "Mary of Argyle"
68. "A Home by the Sea"
69. Byron's "Farewell to Tom Moore"
=Parlor Selections.=
70. Waltz in A flat _Chopin_
71. Waltz in E flat "
72. Waltz in D flat "
73. Tarantelle in A flat _Stephen Heller_
74. "Josephine Mazurka" _Heller_
75. "Polonaise" _Weber_
76. Nuit Blanche _Stephen Heller_
77. Spring Dawn Mazurka _William Mason_
78. "Monastery Bells"
79. "California Polka" _Herz_
80. "Alboni Waltzes" _Schuloff_
81. "L'Esplanade" _Hoffman_
82. Anen Polka
_Programme for the evening to be selected from the preceding._]
XII.
ANNA MADAH AND EMMA LOUISE HYERS,
VOCALISTS AND PIANISTS.
THE "HYERS SISTERS."--AN ACROSTIC.
"Hail, tuneful sisters of a Southern clime!
Your dulcet notes inspire my rhyme:
Each in your voice perfection seem,--
Rare, rich, melodious. We might deem
Some angel wandered from its sphere,
So sweet your notes strike on the ear.
In song or ballad, still we find
Some beauties new to charm the mind.
Trill on, sweet sisters from a golden shore;
Emma and Anna, sing for us once more;
Raise high your voices blending in accord:
So shall your fame be widely spread abroad."
M.E.H., _in Boston Daily News_.
One day, two little girls, the one aged seven and the other nine
years, came gayly, gleefully tripping into the room where their
parents sat quietly conversing, and soon began to sing some of the
songs and to enact some of the scenes from operas, performances of
which they had occasionally witnessed at the theatre. This they did,
of course, in childlike, playful manner, yet not without a showing,
considering their ages, of a surprising degree of correctness.
[Illustration: EMMA LOUISE HYERS.]
[Illustration: ANNA MADAH HYERS.]
Their parents at first, however, only laughed at what they
considered the gleesome antics of these embryo personators in opera.
But, the little girls continuing in the presence of their relatives
and playmates their performances, it was ere long discovered that they
possessed no small degree of lyrical talent; that their voices,
considering their tender years, were remarkably full and resonant; and
that they exhibited much fondness for music, and a spirit of great
earnestness in all they undertook.
With these manifestations their parents were of course highly pleased;
and they at once resolved to give their children such instruction in
the rudiments of music as lay within their power.
Thus, then, did those two gifted little girls, Anna Madah and Emma
Louise Hyers, early show their devotion to art, and make that
beginning, which, in a few years afterward, was to grow into a musical
proficiency and a public success in the highest degree creditable to
them.
After one year's instruction, it was found that the girls had advanced
so rapidly as to have quite "caught up" with their teachers (their
parents); and it was therefore found necessary to place them under the
instruction of others more advanced in music. Professor Hugo Sank, a
German of fine musical ability, became then their next tutor, giving
them lessons in vocalization and on the piano-forte. With this
gentleman they made much progress. Another change, however, being
decided upon, our apt and ambitious pupils were next placed under the
direction of Madame Josephine D'Ormy,--a lady of fine talents, an
operatic celebrity, and distinguished as a skilful teacher. From this
lady the sisters received thorough instruction in the Italian, and
were taught some of the rudiments of the German language. It is, in
fact, to the rare accomplishments and painstaking efforts of Madame
D'Ormy that the Misses Hyers owe mostly their success of to-day. For
she it was who taught them that purity of enunciation, and sweetness
of intonation, that now are so noticeable in their singing of Italian
and other music; while under her guidance, also, they acquired that
graceful, winning stage appearance for which they have so often been
praised.
Although, as was natural, quite proud of the rich natural gifts
possessed by their children, and extremely delighted with the large
degree of their acquirements in the art of music, their sensible
parents were in no haste to rush them before the public; and it was
therefore nearly two years after leaving the immediate musical
tutelage of Madame D'Ormy when these young ladies made their _début_.
This they did before an audience of eight hundred people at the
Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this
occasion, and on others afterwards in San Francisco and other places
in California, their efforts were rewarded with grand success: the
musical critics and the press awarded them unstinted praise, and even
pronounced them "wonderful." As a sample of all these comments, I here
append the following from "The San Francisco Chronicle:"--
"Their musical power is acknowledged; and those who heard
them last evening were unanimous in their praises, saying
that rare natural gifts would insure for them a leading
position among the prime donne of the age.
"Miss Madah has a pure, sweet soprano voice, very true,
even, and flexible, of remarkable compass and smoothness.
Her rendition of 'Casta Diva,' and her soprano in the tower
scene from 'Il Trovatore,' and Verdi's 'Forse e' lui che
l'anima,' [Transcriber's Note: 'Ah, fors'è lui che l'anima']
as also in the ballad, 'The Rhine Maidens,' was almost
faultless, and thoroughly established her claims to the
universal commendation she has received from all the
connoisseurs in melody who have heard her.
"Miss Louise is a natural wonder, being a fine alto-singer,
and also the possessor of a pure tenor-voice. Her tenor is
of wonderful range; and, in listening to her singing, it is
difficult to believe that one is not hearing a talented
young man instead of the voice of a young girl. Her
character song was one of the greatest 'hits' ever made; and
henceforth her position as a favorite with an audience is
assured."
After these concerts they retired to severe study, preparatory to
making a tour of the States. Finally, deciding to proceed towards the
East, they sang to highly-appreciative and enthusiastic audiences in
several of the Western towns and cities. At Salt-Lake City they were
received with the very highest marks of favor. On the 12th of August,
1871, they gave a grand concert in Salt-Lake Theatre, offering some
five operatic selections. At this concert, and for some time
afterwards, the ladies were assisted by Mr. Le Count, a baritone
singer of excellence. I append the following scientific analysis of
the music used, and the manner of its rendition on the occasion just
mentioned. It is from the pen of Professor John Tullidge, and is
copied from "The Deseret News:"--
REMARKS ON THE HYERS SISTERS' CONCERT ON SATURDAY, AUG. 12,
1871.
BY PROFESSOR JOHN TULLIDGE.
"A portion of two scenes from the first and second acts of
Donizetti's opera of 'Linda di Chamounix' occupied the whole
of the first part of the concert.
"The first act opened with a _recitativo e cavatina_,
selected from No. 4, on the words, 'Ah, tardai troppo e al
nostro favorito.'
"The _recitativo_ is in A flat major. But there are no flats
or sharps in the signature: these are placed before the
notes as required. When the transitions are rapid,--as they
are in this piece,--it renders the reading very difficult in
securing correct intonation. But notwithstanding these
frequent changes, and intricate skipping intervals, Miss
Anna accomplished the difficulty with ease, and perfectly in
tune. The rapid cadence on the dominant was artistically
rendered.
"The aria follows with an allegretto in three-four time, and
the execution in this division is very rapid; but the
vocalist was equal to the task, and performed it with ease
and grace. But the most astonishing feat was the cadenza in
the cavatina: the singer, instead of closing on D
flat,--fourth line of staff,--took an improvising flight,
catching in that flight an appoggiatura grace on the note E
flat above the lines; and closed with the D flat, a note
below on the pause.
"This was a dangerous flight for one so young: nevertheless,
the note intoned was clear, distinct, and bell-like.
"Miss Emma sang the alto in the 'Caro Ballato' with Miss
Anna, in a duetto on the words, 'Qui si pria della
partenza.' The alto takes the notes a sixth below the
soprano, and her deep mellow voice produced a fine effect.
The next is a _recitativo_ by soprano and alto. In this
division the intervalic skippings are difficult; but they
were correctly interpreted. The alto then takes up a
larghetto in six-eight time, key D minor. This portion
required much _con dolore_ expression, which was delivered
with much tremolo effect by Miss Emma; and her rich, pure
contralto voice in the low register told well. The scene
finished with a duet by the two sisters, who were warmly and
deservedly applauded.
"The scene in act second contained much of the same forms of
execution as the first, with the exception of a brilliant
duetto in D major, which reminded me of that beautiful
florid piece, 'Quest est homo,' from Rossini's 'Stabat
Mater.'
"This duet not only requires fine voices, but rapid
execution also, or the rendition would be imperfect; but the
sisters gave a charming interpretation to the piece.
"Part third commenced with the 'Magic-wove Scarf,' from
Barnett's opera of 'The Mountain Sylph.' Barnett is a fine
composer, and was theoretically educated in Germany; and, on
his return, he composed the above opera. The musicians in
England were much surprised when this clever author left the
field of composition, after he had received such popularity
from his opera of 'The Mountain Sylph;' but the author was
obstinate, and I believe he was offended with some remarks
of the critics.
"The scene of the scarf is laid in Scotland. The mountain
sylph is a fairy, and falls in love with the tenor, a young
Scotchman. The baritone is a Scotch necromancer. The young
lover, fearful of losing his fairy love, appeals to this
demon for aid; and he, wishing to destroy the power of the
fairy, gives the young man the 'Magic-wove Scarf' to throw
around her. He told him that the scarf would secure her. He
was enticed, and threw the scarf around; but, the moment it
touched her, she became spell-bound, and is supposed to die,
but is released by a fairy of superior power.
"The trio opens with a fine baritone solo; and, considering
Mr. Hyers is not a professional singer, the part was
creditably rendered.
"The tenor, Miss Emma, conveyed the author's meaning truly;
and her imitation of that voice took her to the F sharp
below the staff. This note was intoned with perfect ease.
"In Miss Anna's part there are some beautiful rouladial
passages, which were delivered by the young lady smoothly
and distinctly; and, when she became spell-bound by the
scarf, her _espressivo_ and _energico_ were fine.
"The trio throughout was creditably performed, and was
loudly applauded by the audience.
"'Brighter than stars soft gleaming,' from the opera 'Il
Trovatore,' is a fine composition abounding in _espressivo_
and _bravura_ passages: the compass is also extensive,
requiring great range for a baritone voice. The piece was
rendered with credit by the young vocalist Le Count.
"A very choice selection from Donizetti's opera of 'Lucia di
Lammermoor' followed, and was sung by Miss Anna Hyers. The
first line of the English words is, 'See, 'tis the hour: how
sinks the sun!' The whole of this movement is in the
_affetturoso con amoroso_ [Transcriber's Note: affettuoso
e amoroso] style; and in order to render such a theme
effective, as love without hope, but still hoping, the
singer must throw a vast amount of pathos into the subject
to secure a fine interpretation; which rendition by the
artist was all that could be required. The second movement
is in D major. The words of the principal line are, 'Grow
dark, yes, love's pure flame grow dark, like earthly fire.'
"The author has interpreted these words with rapid sextoles
(groups of six notes) and triplets in difficult intervalic
skips, and finishing with an intricate florid cadenza in
seconds and thirds. Many passages of the same form may be
found in Handel's 'Messiah.' The young lady not only glided
over these difficulties with ease and grace, but also
brought out the _espressivo_ so necessary for the effective
rendition of this division. The remaining portions of this
fine composition are much varied with rapid executions; and
the compass of voice required for effect is extensive,
ranging from C above the staff to C below. Every point was
delivered by the young vocalist with purity and force.
"I believe this young lady's compass of voice is from E flat
above the lines to A below; having at her command the
soprano register, the mezzo-soprano, and a portion of the
alto.
"Both of the sisters sing in the Italian with fluency and
with correct pronunciation.
"'Par Excellence,' sung by Miss Emma, was a complete triumph
with the audience, and received a triple call. This was a
great compliment after Lingard, the original. But it was the
lady's pleasing manner that took the comic-loving patrons by
storm: hence the third encore."
After the performance described by Professor Tullidge, the Misses
Hyers were tendered by the leading citizens of Salt-Lake City a
complimentary benefit. The following correspondence, taken from "The
Deseret News," explains itself:--
SALT-LAKE CITY, Aug. 14, 1871.
TO THE HYERS SISTERS,--We the undersigned, residents of
Salt-Lake City, having witnessed your performances during
your recent engagement at the theatre, and being willing to
acknowledge talent wherever found, as a slight testimonial
of our esteem tender you our influence and assistance in
making a remunerative benefit, to take place at the
Salt-Lake Theatre at such time as may suit your convenience.
JOS. R. WALKER.
A.W. WHITE.
WELLS, FARGO, & CO.
(Per C.F. SMITH.)
JNO. CUNNINGTON.
J.B. MEADER.
M.H. WALKER.
A.M. MORTIMER.
JNO. MANN.
S.A. MANN.
A. BENZON.
D. CANDLAND.
J.C. LITTLE.
TILDEN & LAWRENCE.
B.G. RAYBOULD.
JAS. SMITH.
N.S. GOULD & SON.
SEIGEL BROTHERS.
TAYLOR & CUTLER.
H.O. PRATT.
HOOPER, ELDREDGE, & CO.
WILLIAM M. JOHNS.
ROBERT K. REED.
CALDER BROTHERS.
PROFESSOR THOMAS.
JOS. J. DAYNES.
HUGH W. McKEE.
R. ROSS.
THOMAS FITCH.
JNO. T. CAINE.
W.F. ANDERSON.
MARK CROXALL.
J.F. HAMILTON.
CAPT. SHAW.
G.W. LEIHY.
F.T. WISWELL.
TEASDEL & CO.
H.S. BEATTIE.
JNO. L. BURNS.
To this the following reply was returned:--
SALT-LAKE HOUSE, Aug. 15, 1871.
Messrs. WALKER, TILDEN, A.W. WHITE & CO., HOOPER, ELDRIDGE,
& CO., AND OTHERS.
_Gentlemen_,--Your esteemed favor is before us; and,
gratefully accepting your high compliment to our humble
endeavors, we respectfully name Thursday, Aug. 17, as the
time of the proposed benefit at the Salt-Lake Theatre.
Respectfully,
HYERS SISTERS.
While in St. Joseph, Mo., they elicited from "The Daily Herald" of
that city the following encomium:--
"Whoever of our readers failed to visit the Academy of Music
last evening missed a rare musical treat. The concert of the
Hyers sisters was absolutely the best, furnished those in
attendance with the choicest music, which has been in St.
Joseph since we have resided here.
"The Hyers sisters are two colored ladies, or girls, aged
respectively sixteen and seventeen years; but their singing
is as mature and perfect as any we have ever listened to. We
had read the most favorable reports of these sisters in the
California papers, but confess that we were not prepared for
such an exhibition of vocal powers as they gave us last
night.
"Miss Anna Hyers, the eldest, is a musical phenomenon. When
we tell musicians that she sings E flat above the staff as
loud and clear as an organ, they will understand us when we
say she is a prodigy. Jenny Lind was the recipient of
world-wide fame and the most lavishly-bestowed encomiums
from the most musical critics in the Old and New World
simply because she sang that note in Vienna twenty years
ago. Parepa Rosa, it is claimed, reached that vocal altitude
last summer. But the sopranos who did it flit across this
planet like angels. Several competent musicians listened to
Anna Hyers last evening, and unanimously pronounced her
perfectly wonderful. With the greatest ease in the world, as
naturally and gracefully as she breathes, she runs the scale
from the low notes in the middle register to the highest
notes ever reached by mortal singers. Her trills are as
sweet and bird-like as those with which the 'Swedish
Nightingale' once entranced the world. In Verdi's famous
'Traviata' there was not a note or modulation wrong: her
rendition was faultless, her voice the most sweet and
musical we ever listened to.
"In the duet, 'There's a sigh in the heart,' her voice was
exhibited in wonderful range; and, in the tower-scene from
'Il Trovatore,' its great power was singularly and very
agreeably apparent.
"We do not remember to have been more completely and
agreeably surprised than we were last evening in the
matchless excellence of the singing of the Hyers sisters.
They deserve a crowded house; and we predict that in Boston
or New York, by the most severe critics, they will be
pronounced musical prodigies."
In Chicago their success was none the less flattering. In this, styled
by many the "Queen City of the West," the remarkable musical powers of
these young ladies created intense excitement, especially among people
of the highest musical culture. The extraordinarily high range of the
voice of Anna Hyers quite astonished every one who heard her, and
evoked the warmest praise of the critics. For the purpose of assuring
those who had not heard her sing, or who, although present, failed to
exactly locate in the scale her greatest altitude, as well as to more
pointedly mark this rare achievement in vocalism, a number of the best
musicians of Chicago published a card in "The Tribune," in which they
declared that "Miss Anna Hyers sang at the concert last night the
second G above the staff,--a note touched by no other singer since
Jenny Lind."
Still proceeding towards the East, they next appeared in Cleveland,
O., where their delightful vocal powers were thus alluded to by "The
Daily Leader:"--
"On Saturday evening last, we had the pleasure of listening
to the Hyers sisters, who have, since their appearance in
public, been the recipients of the most flattering
testimonials; and are warranted in saying, not without the
best claim to them, the exhibition they gave of their
ability was most satisfactory. The soprano (Miss Anna) has
an exceptionally pure, sweet voice, with ample power for all
the demands of the concert-room. Her execution was
admirable. The contralto (Miss Emma) possesses a voice of
remarkable quality; and we do not hesitate to say that a
richer or more evenly-conditioned contralto voice is rarely
heard. Her execution was all that could be desired."
Encouraged by the marked success which had thus far crowned their
efforts, their father, with whom and under whose direction the Misses
Hyers had travelled since leaving California, now determined to
enlarge his troupe. This he did by engaging the services of Mr.
Wallace King of Camden, N.J., a gifted and accomplished tenor-singer;
Mr. John Luca, widely and favorably known from his connection formerly
with the celebrated "Luca family," and who sang baritone; while as
accompanist he engaged the fine pianist, Mr. A.C. Taylor of New York.
An intelligent idea of the composition of Mr. Hyers's troupe can be
formed by a perusal of the following, which was the preface given to
the programme of his concerts:--
[Illustration:
THE GREATEST MUSICAL PHENOMENA OF THE AGE!
THE FAMOUS CALIFORNIA VOCALISTS,
THE
HYERS SISTERS!
(COLORED.)
MISS ANNA MADAH HYERS _Soprano_
AND
MISS EMMA LOUISE HYERS _Contralto and Tenore_
ASSISTED BY
MR. WALLACE KING _Tenor_
AND
MR. JOHN LUCA _Baritone_
AND THE GIFTED PIANIST,
A.C. TAYLOR.