years, quite proficient as a performer, he began to take lessons on
the organ under the direction of Miss R.M. Washington, an accomplished
teacher of that instrument, of the piano-forte, and of harmony. The
organ for some time quite absorbed his attention. This grand and most
comprehensive of instruments, with its great scope and capacity for
the production of harmonic beauties, so delighted, indeed so charmed,
our young enthusiast,--for such he had now become,--as to leave him
with scarcely any inclination or time for other studies. He resolved
then to learn all that it was possible to know about the organ, not
only in awaking to life its tones of grandest harmony, but also, and
in order to better accomplish the same, to study its wonderful
mechanism.
With this latter purpose in view, he visited the extensive and
celebrated organ manufactory of the Messrs. E. and G.G. Hook &
Hastings, located at what was then called Roxbury, Mass., now a part
of the city of Boston. These gentlemen were so pleased with his
ambitious spirit, that they kindly gave him permission to visit at
will their factory, and to examine into every thing connected with
organ-making. After a while, this firm, discovering the ability of
young Lewis as a performer, invited him, in the presence of, and at
times in conjunction with, some of the most skilful organists of
Boston, to test their organs before the same were offered for sale.
Besides, he sometimes offered suggestions in regard to their
construction before the organs were completed, some of which
suggestions were adopted by the firm. It will thus be seen that our
student was quite fortunate in having, in the first place, an
excellent teacher, and afterwards such beneficial opportunities as
those allowed him by the Messrs. Hook. No wonder, then, that with his
natural abilities, his ambitious, art-loving spirit, industrious
habits, and such facilities, he quite early became a proficient
organist.
With his acquisition of skill as a performer on the piano-forte and
organ already attained, as well as with his prospects for attaining to
great distinction as a player of either of them, our artist might well
have been content. But with these he was not satisfied: he longed to
roam over the whole field of instrumental music, to evoke and to enjoy
the harmonic beauties of the many other instruments. He had, in fine,
become an enthusiast in music; and yearned to become a real
connoisseur, theoretically and practically.
Mr. Lewis, therefore, next took up for study the violin, without other
teachers than the best instruction-books treating on that instrument.
Becoming enamoured of the tones of that sweet and soul-expressing
instrument, using in his work only music of the highest kind (he
never, indeed, had a taste for any other), choosing for his
models--when not guided alone by his own ideas of fine expression--the
most classical performers, he rapidly advanced as a pleasing and
scholarly violinist, and made his first public appearance as a soloist
at New Bedford, Mass., in 1861. About this time, having attained to a
fine degree of general proficiency in music, and having overcome to
some extent a certain shyness and timidity which had hitherto
characterized him, he accepted invitations to appear in the best
musical circles in Boston, and to take part occasionally in public
performances there. This served to increase his desire to learn even
other instruments, and caused him to study successively many of the
pieces that are comprised in the formation of a large orchestra or a
military band. He made, however, the cornet his principal study.
Having at this time become quite partial to stringed instruments, he
soon gave most of his time to the study and practice alternately of
the viola, violoncello, double-bass, and the guitar. As a performer on
all of these instruments, except perhaps the guitar (an instrument
which he never much liked), he has on important public occasions
appeared, eliciting at such times the favorable comments of the press.
Leaving for a while the instruments just mentioned, he turned his
attention to the clarinet and flute. To the former he is at present
much devoted, playing upon it with much taste and skill.
Being asked why he so much enlarged his field of instrumental
performance, and why he did not confine his studies to not more than
one or two instruments, he said that it was in order that he might be
the better able to arrange and write music for an orchestra or
military band; and in this ambitious endeavor he has attained to a
fine degree of success.
I should have mentioned before this, that, at the age of fifteen, our
subject was considered quite a competent performer on the piano-forte,
the organ, and the violin; and that at that early age he began to
teach the playing of these instruments.
Although his talent and acquirements are displayed more particularly
as an instrumentalist, Mr. Lewis is also a fair vocalist, understands
thoroughly its theory, and teaches singing. He is a valued member of
several musical clubs of Boston and vicinity composed of artists of
the highest culture, such as the Haydn and Mozart Clubs of Chelsea,
Mass. He, besides, meets with a select few in Boston, in a circle of
studious amateurs where none but the finest and most classical music
is performed. He is a member of the "Boston Musicians' Union," which
comprises in its membership most of the best musicians of the city;
such as, for instance, Julius Eichberg, P.S. Gilmore, C.N. Allen,
Messrs. Listemann, Lothian, &c.
In the Haydn and Mozart Clubs Mr. Lewis has played the part for first
violin; and on several occasions, in the absence of the directors of
those bodies, he has assumed acceptably the conductorship. His general
musical accomplishments, and his acquaintance with each instrument
used in these clubs, make him really the most useful and valued
member; for, if a member fails to appear at a performance, he need not
be much missed, since Mr. Lewis, if present, can take his instrument,
whatever it may be, while his own regular place may be taken by the
next first violinist in rank.
He has performed on several great occasions, notably at the World's
Peace Jubilee, held in Boston in 1872, in an orchestra of nearly two
thousand instrumentalists, all selected, and of fine skill. Before
being accepted there, he was subjected to a most rigid examination by
the superintendent of the orchestra, being required to play on the
violin some of the most complicated and difficult compositions for
that instrument. This test he stood so well, indeed, as to elicit
from the superintendent, in the warmest manner, the comprehensive
exclamation, "Lewis, you are a musician!" At the grand testimonial
concert tendered P.S. Gilmore (the projector of the two great
"Jubilees") at the Boston Theatre, prior to his going to New York to
reside, Mr. Lewis appeared in a selected orchestra, and contributed
not a little to the success of that interesting occasion.
He is constantly arranging and composing music for his classes, for
orchestras and bands. At present he is engaged in composing for the
piano what he will call "A Meditation," and in which he will include
some of the finest ideas that constantly fill his musical mind. Some
of these thoughts I have heard him play; and I have been so pleased by
them, as to beg him not to relinquish his purpose to give them to the
public, being convinced that in so doing he would afford delight to
all lovers of good music, and add much to his already fine reputation.
Many complimentary notices touching the musical abilities of Mr. Lewis
have from time to time appeared in the public journals. A few of the
briefest are given below.
One of these journals, a good while ago, said,--
"Mr. Lewis is an amateur performer of marked ability."
"The Boston Journal," June 11, 1874, said,--
"Mr. Lewis gained much applause for his violin solos; and a
duet and also a sonata by Mozart, for violin and piano, were
well received."
"The Boston Globe," April 16, 1874, said,--
"Mr. F.E. Lewis, violin soloist, appeared once on the list,
and was so demonstratively applauded, that he was a second
time forced to come upon the platform. His first solo and
the response were very artistically given."
In these driving days, when competition is so rife in all the trades
and professions, and when, even among our best musicians, what begins
as a spirit of honest rivalry often degenerates into that of
detraction, it is pleasant to record instances in which it is shown
that there are those who in their culture so strikingly unite the
qualities of the skilful artist and the true gentleman, that their
warmest admirers and friends are found among those of the same
calling. Of Mr. Lewis, Mr. Alonzo Bond, director of Bond's Military
Band, and a veteran musician of note, once said, "He is the finest
accompanist (piano) in the United States." The writer has also in
possession letters, highly commendatory of Mr. Lewis as a musician,
from Mr. L.R. Goering, a skilful orchestra leader, member of that fine
body of musicians, the Germania Band, and a teacher of great merit;
from T.M. Carter, director of Carter's Band; from J.O. Freeman, and
J.H. Richardson,--all musicians of high rank, and gentlemen of
excellent general culture. From the letter of one of these (Mr. J.O.
Freeman) I quote the following reference to the subject of this
sketch:--
"I look upon him as a person of remarkable musical ability.
His performance on the violin, viola, violoncello,
double-bass, clarinet, and also brass instruments, is really
surprising. But where we see his real talent is in his
conception and rendering of classical music on the
piano-forte. Even in his own compositions he has shown much
real talent. I regret that he could not have had the chances
abroad that so many of our less-talented Americans have had.
Besides the numerous instruments I have mentioned, there is
still another (which, perhaps, in character ranks higher
than any of the others): I mean the church-organ, upon which
he also plays."
This writer, like all the others mentioned, could not refrain from
closing his letter by a very handsome reference to Mr. Lewis's
gentlemanly traits of character.
Slightly below the medium size, of graceful form, with regular,
expressive features, and thoughtful cast of countenance; always neat
in appearance; of gentlemanly, Christian deportment; genial in
manners,--so amiable, as to be almost without an enemy; of very
industrious habits; fully impressed with the beauty, the grandeur, and
the great usefulness, of the divine art, as a potent means, when
properly employed, for elevating the mind, adding to innocent
enjoyment, and as an aid to polite culture; and with a soul absorbed
in music,--all this can be truly said of Frederick E. Lewis. Not much
more can or need be said to mark him, as he is, the Christian
gentleman and the wonderfully talented musician,--one whose charming
qualities fill the measure of our highest conception of the true, the
ideal artist.
XIV.
NELLIE E. BROWN,
THE FAVORITE NEW-HAMPSHIRE VOCALIST.
"The melody of every grace
And music of her face."
LOVELACE.
"And thence flows all that charms or ear or sight;
All melodies the echoes of that voice."
COLERIDGE.
All musical tones please the ear, and affect to a greater or lesser
degree the finer senses; for as beautifully and expressively sings
Cowper, explaining this sensibility,--
"There is in souls a sympathy with sounds:...
Some chord in unison with what we hear
Is touched within us, and the heart replies."
The musical instrument, of itself lying cold and inanimate, may
become, when touched by the hand of genius, seemingly a thing of life
as the performer evolves from its board tones of melody so thrillingly
sweet, so soulful, as to awaken in the listener's breast the holiest
emotions. Even stout-hearted men have shed the tear of feeling when
listening to the tenderly touching strains of the voiceful
violin; while the musical moanings of the violoncello have caused them
to experience feelings of a tender sadness.
[Illustration: NELLIE E. BROWN.]
I saw this exemplified, when, a short while ago, I listened with rapt
attention to the marvellously sweet singing of the violin of that rare
virtuoso, Ole Bull. The performer appeared like one inspired; and his
noble instrument seemed sentient as under his magnetic hand its pure,
melodic, and at times human-like voice, so replete with poetic,
soulful expression, gave out tones of most exquisite beauty and
grandeur, while every heart of his vast, enraptured audience throbbed
in unison.
Still it is only once in a great while that one may witness the
production of effects like those just described: and I think, that
although the lines of Cowper, previously quoted, may refer to the
effect of musical sounds in general, they yet are more particularly
expressive of the impressions produced upon the ear and the heart by
the melodious echoings of a _human voice_ when heard in song; for then
a real, a living soul, with aid of music's charm, breathes to soul its
joys, its pathos, its inmost longings,--touching indeed the unseen,
"The electric chain wherewith we are darkly bound,"
while heart responds to heart.
Besides, we know that man, in his rudest, as well as in his most
highly-civilized state, readily pays tribute to the power and beauty
of song. In this form of musical expression the singer conveys to the
listener's ear not only melodies that the latter naturally delights to
hear, but utters also the words of sentiment, of instruction, that
appeal to his mind, and touch his heart; thus doubly enchaining his
interest, and enhancing his pleasure. Moreover, to the mere charm of
resonant vocalization is added the one afforded by a warm, a living
presence; the speaking eyes (so aptly called the "windows of the
soul"), with their glowing, magnetic expression, and the effective
gesture, forming together pleasure-giving elements that must ever be
wanting in other forms of musical presentation.
And so easily are our musical sensibilities awakened, and so readily
are we influenced by song-power, that these effects may be exerted
upon us, to a very considerable extent, even by the singer of ordinary
abilities. But by a beautiful cantatrice, gifted with a pure,
resonant, sympathetic voice, its natural sweetness and power
supplemented by careful artistic cultivation, possessing a pleasing,
unaffected manner of appearance and expression, all these effects may
be amplified, intensified. Such a one may often, nay, at will, call
into life our most delightful emotions, and evoke the warmest
admiration of those who see and hear her. Her sway is over all, and is
absolute; the natural music of her voice merely serving as sufficient
charm for those not highly cultured, while the embellishments of art
which she so intelligently uses in her performance add to the pleasure
of, as they satisfy, the æsthetic conceptions, the love of full,
harmonious development, held by persons of the most critical tastes.
As prominent among those lyric artists of New England whose fine
natural musical powers and many winning accomplishments have formed
the theme of frequent praise, as they have been the source of constant
delight for many persons in private circles and public audiences, I
may confidently mention Nellie E. Brown of Dover, N.H.,--a lady who
within a very few years has, by the great beauty of her voice, and the
exhibition of many noble qualities of heart and mind, won a name of
which she and all her many admiring friends may be justly proud.
At quite an early age Miss Brown evinced a fondness for music, the
slightest sounds of which readily attracted her attention; and, long
before she had acquired a knowledge of its rudiments, the natural
sweetness of her voice, as she was heard merely humming a tune, often
arrested the attention and called out the praises of those who heard
her. Thus musically endowed, of an amiable disposition, with spirits
ever as free as the mountain winds of her native State, she became the
favorite of her school companions, and their leader.
A few years ago, while attending a private school in Dover, Miss
Caroline Bracket, a teacher in the same, noticing that Miss Brown
possessed a naturally superior voice, earnestly advised its fullest
cultivation. This lady became her first music-teacher. Diligently
pursuing her studies, she made rapid progress. Being induced to take
part in occasional school and other concerts, our subject soon became
quite prominent in Dover as a vocalist, and was engaged in 1865 to
sing in the choir of the Free-will Baptist church of that city. Here
she remained until November, 1872; at which time, having learned of
Miss Brown's fine vocal powers, the members of Grace Church,
Haverhill, Mass, earnestly invited her to become the leading soprano
in their choir, offering her a liberal salary, besides the payment of
her travelling-expenses twice each week between Dover and Haverhill.
This very complimentary invitation she accepted; and for four years
her fine singing and engaging manners rendered her deservedly popular
with the members and attendants of the church mentioned,--people of
fine Christian and general culture,--as well as of the citizens of
Haverhill generally, before whom, in the public halls, she sang on
several occasions.
She remained in Haverhill until November, 1876; when, on the
completion of the new Methodist-Episcopal church at Dover,--the
largest and finest church in the city,--she was induced to become a
member of its choir. Not, however, until after a severe struggle did
the Grace-church people relinquish their claims to the accomplished
vocalist. They say that they will yet have her back with them. At
present, Miss Brown is directress of the choir in Dover which I have
just mentioned.
I have thus given a rapid sketch of our subject's career as a
choir-singer; a career which, it is seen, has been a most gratifying
one. But her musical achievements have not been made alone in the
positions and places mentioned: in others, near and far, she has
displayed such abilities as a songstress as to have won golden
opinions of those composing her many large and cultivated audiences,
while the press have awarded her the highest praise.
While a leading member of the choirs before alluded to, and while
winning encomiums that perhaps would, have turned the heads, so to
say, of many, and caused them to have relaxed that assiduous and
scientific study so necessary to the attainment of complete success,
Miss Brown continued a zealous student of her much-loved art, being
ever resolved to cultivate her voice to the highest point of
excellence. _Apropos_ of this, I may mention that she once wrote a
friend as follows: "My motto is 'Excelsior.' I am resolved to give
myself up wholly to the study of music, and endeavor, in spite of
obstacles, to become an accomplished artist." It may be observed, that
none but those who are actuated by the most noble motives, and who
give utterance to them in words of such inspiring earnestness as
these, _do_ become "accomplished artists."
Deciding, then, to secure the fullest development of her voice, and to
gain those acquirements that belong to a technical education, living
within a few hours' ride of Boston, she here became first a pupil of
Mrs. J. Rametti, and afterwards entered one of the great
conservatories, where she was placed under the guidance of Professor
O'Neill, a gentleman highly esteemed as a teacher of voice-culture.
She had not long been connected with the New-England Conservatory of
Music, when its director requested her to appear at the quarterly
concerts of that institution that were held in Music Hall. Here on two
occasions, before large and highly-cultivated audiences, with
beautiful voice, correct method of expression, and ease and grace of
stage deportment,--singing, in Italian, music of a high order,--Miss
Brown won the most enthusiastic applause. Predictions of her complete
success as a brilliant lyric artist were freely made by many
connoisseurs. But these have not been her only appearances in Boston.
She has many times sung at concerts in the finest music-halls of the
city, before many critical audiences; her charming rendition of the
numerous English, Italian, French, Scotch, and Irish songs in her rich
_repertoire_ making her one of Boston's favorite cantatrices.
In order that the opinions heretofore given in regard to Miss Brown's
vocal abilities and artistic accomplishments may be shown not to be
exaggerated, I now desire to append some of the notices which her
performances have elicited from the press of New England and other
sections of the country. And here I am confronted by the first real
difficulty that has appeared since I began this sketch; for I have
before me nearly one hundred comments, all highly complimentary, only
a very small number of which may here be reprinted. To properly
arrange and give them _all_ would be an easy and most pleasing task,
since the collection forms an unbroken, a delightful series of musical
descriptions, interspersed with high but always discreet praise of the
artist whose performances, in the main, called them forth; but to be
compelled, from want of space, to endeavor to select, from among these
many encomiums, only those which, while they do justice to our
subject, are yet brief and together varied and interesting, is a duty
attended with some embarrassment. Before attempting to do this, I deem
it proper to say, that, if printed together, the comments referred to
would make a volume of considerable size; which, containing, as it
undoubtedly would, the truthful, spontaneous tributes of lovers of art
to one of its most faithful and accomplished devotees, might well be
considered by herself and many admiring friends as of most inestimable
value.
The following have reference to Miss Brown's appearances in Boston
during the musical season of 1874:--
Said "The Boston Traveller," April 16,--
"Miss Nellie E. Brown has for some months been the leading
soprano at Grace Church, Haverhill, Mass.; which position
she has filled with eminent acceptance, and with marked
exhibition of artistic powers."
And the same paper at another time said,--
"Miss Brown possesses a very fine voice under excellent
culture, and gave with much taste several solos. Noticeably
good was her rendering of Torrey's 'La Prima Vera.' In all
her selections she exhibited excellent style and finish."
"The Globe," March 31, said,--
"Miss Nellie Brown showed a particularly well-modulated
voice, trained study, and appreciative method, which served
her well in the pleasant rendering given by her so
gracefully and unaffectedly."
The same paper, after alluding to her rendition of "Del Criel Regina,"
[Transcriber's Note: 'Del Ciel Regina'] said,--
"This lady is fortunate in her exceedingly sweet and
well-trained voice, which, in conjunction with her fine
personal appearance and stage manners, rendered her
reception unusually enthusiastic."
Speaking of an entertainment given at Parker Memorial Hall, a musical
writer said,--
"Miss Brown has a charming voice, and sings with intelligent
expression and good taste. Two of her songs, 'Beautiful
Erin' and 'Bonnie Dundee,' were rendered with great
sweetness."
"The Boston Advertiser," March 31, said,--
"She has an exceptionally pure voice, which has been
carefully trained."
"The Transcript," April 16, said,--
"A soprano of good voice and cultivation."
"The Journal," June 13, 1874, said,--
"A talented vocalist, with a well-cultivated voice of a
remarkably fine quality. She pleased very greatly in several
selections."
Said "The Post," Nov. 13,--
"An artist of exceptional merit, possessing a voice of rare
compass, flexibility, and sweetness. In the solo, 'Land of
my Birth,' by Operti, she received enthusiastic applause."
The public journals of her own city and state very early in her career
chronicled Miss Brown's musical achievements, and even then felt
warranted in awarding her strong but judicious praise. Latterly they
have many times spoken in most enthusiastic terms of her added
accomplishments. I shall quote only a few of the briefest of these.
"The Dover (N.H.) Daily Democrat," Dec. 19, 1873, said,--