Nellie Brown, assisted by Misses Gray and Bracket and the
Amphion Glee Club of Haverhill, Mass., was a success....
Miss Brown was very warmly greeted, and surprised all with
the ease and grace of her appearance, the richness of her
voice, and the fine rendering of her music. She was
enthusiastically encored."
"The Dover Enquirer," Sept. 7, 1876, said,--
"The organ and vocal concert at the new Methodist-Episcopal
church on Tuesday evening was one of the finest ever given
in Dover.... Dover's favorite, Miss Nellie E. Brown, was as
warmly greeted as ever, sang most charmingly, and was loudly
encored."
"The Dover Democrat," Sept. 6, 1876, said,--
"It [the concert] was a grand and complete success.... One
little incident, or intended incident, was omitted at the
concert. An elegant basket of flowers was sent by the
friends of Miss Nellie Brown at Haverhill, for presentation
to her at the close of her singing; but the express folks
failed to deliver it in season. It was too bad; but Miss
Brown and her numerous friends appreciate the good-will of
the Haverhill people all the same. It was intended as a
pretty tribute to one of the best singers in New England;
and, so far as the act itself was concerned, it stands just
as well as though the presentation had taken place."
Miss Brown has sung in quite a number of the larger towns and cities
of Massachusetts, in which State she is scarcely less a favorite than
in New Hampshire. She has appeared at concerts in company with some of
the most eminent artists of the country (such as, for instance,
Professor Eugene Thayer, J.F. Rudolphsen, Myron W. Whitney, Mrs. Julia
Houston West, Mrs. H.M. Smith, and others), and always with fine
success. In her own city and state she enjoys a popularity unequalled
by any other cantatrice, her beautiful voice and many excellent traits
of character winning her the warmest esteem of all. The people of
Dover are very proud of her, and greatly delighted that one of their
number is received with such marks of enthusiastic favor in other
States. The Dover papers always readily record these triumphs, and
proudly speak of her as "our prima donna."
In November, 1874, our subject sang in Steinway Hall, New York, and
was highly complimented by several of the papers of that city.
"The Gazette," Nov. 4, 1874, said,--
"Miss Nellie Brown, born and bred among the lulls of New
Hampshire, possesses a voice of rare power and beauty, which
she has diligently labored to cultivate and improve by close
and unremitting study. She has also a rare charm of manner,
which, united with her exquisite singing, won for her an
enthusiastic reception."
Another paper thus referred to her:--
"Miss Brown is not a New-Yorker, but resides at Dover, N.H.,
where she is the leading soprano in the principal church.
Her stage presence is quite prepossessing. She sang 'Salve
Maria,' and 'Robert toi que j'aime,' with very good effect,
besides assisting in several duets and quartets. She
possesses a very good voice; and, although of light calibre,
it is even now able to fill a hall like Steinway."
She has appeared at concerts in Washington, D.C., Portland, Me.,
Baltimore, Md., and St. John, N.B. In December, 1874, Miss Brown
visited the national capital, where she sang in a series of concerts
given in Lincoln Hall under the auspices of the Abt Society. Of the
part taken by her in one of these "The National Republican" said,--
"'La Prima Vera,' by Miss Nellie E. Brown, was beautifully
and artistically rendered, the lady possessing a beautiful,
full, round voice, which blended harmoniously with the
perfect ease and faultless execution which graced her
performance. It being her first appearance before a
Washington audience, the expectation formed of her
excellence in an artistic sense was more than realized.
'Nobody at Home but Me,' sung by the same lady in reply to
an encore, more fully, if it were necessary, stamped her as
an artist of the first class."
I believe I have already intimated that the very high esteem in which
Miss Brown is held arises not alone from her possession of charming
lyric qualities, but also from her obliging disposition and engaging
manners. She has ever been the true artist; earnestly devoted to the
fullest development of her own musical powers, but not envying those
of others; loving music intensely, as something sacred, and always
anxious to aid in extending its benign influence. The people of Dover,
of Haverhill, of Boston, and other places, hold her in grateful
remembrance for a frequent exercise of those generous impulses that
have caused her to often sing without charge at concerts given for the
benefit of many good objects.
As one among her many acts to benefit the young, to inspire them with
a love of the beautiful in music, I may refer to the "Centennial
Musical Festival" originated by her, and given under her direction in
Boston on the evenings of May 16 and 17, 1876. For these occasions she
had carefully instructed fifty young girls to perform the beautiful
cantata of "Laila, the Fairy Queen," a juvenile operetta. This
charming composition is admirably adapted to inspire a love of the
beautiful in art, and to nurture sentiments of Christian kindness. The
following is in brief the plot:--
"A band of mountain children are collected to spend the
summer day in singing, gathering flowers, and feasting
around their table spread beneath the shadowy branches of
the trees. They are interrupted by the approach of a
beggar-woman and her children. A part of the children at
first repulse her, offended at having their joyous festival
thus interrupted: but one of them, Laila, steps forth with a
mild rebuke to her playmates for their unkindness: she
welcomes the poor mother and children, and bids them make
known their wants. The other children soon join with Laila
in speaking kindly to the poor wanderers; and, after they
have told them their tale of sorrow, they are invited to the
feast which the children have prepared, and all together go
out with a merry song to where the table is spread. But
Laila, the favorite of all, wandering off alone to cull some
wild flowers, in the ardor of her search loses her way, and
wanders about until night approaches; and then, as weary and
frightened she finds herself in a dark forest, she kneels to
ask aid from her good angel, when suddenly a little band of
fairies with their queen glide into her presence, glittering
in their robes of beauty; and, after her surprise is over,
at her entreaty they conduct her to her playmates.
"The mountain children soon miss Laila, and all the
afternoon they spend in fruitless search for her; and, as
night approaches, they collect in the grove where they first
assembled, and are expressing their grief and terror at the
loss of Laila, when she is led in by the fairies and their
queen, who steps forth, and announces to the children that
they are the same ones, who, disguised as wretched beggars,
came in the morning to prove the generosity of their hearts;
and tells them never in future to hesitate to give the
needy, for virtue is sure to be rewarded. All unite in a
joyous song, and Laila is crowned their queen."
The many persons who were so fortunate as to witness the performance
of those charming misses will not soon forget the delights that were
thus afforded them, nor will they fail to remember most gratefully the
lady to whose painstaking and noble efforts they are so much indebted
for what was a rare treat.
I would fain attempt a description of the scene of dazzling beauty
upon which our eyes feasted, and the music of the fresh young voices
that fell delightfully upon our ears, and touched with gladdening
effect each heart; but I forbear, and give place to the musical critic
of "The Boston Journal," who, on May 17, said,--
... "The occasion was the presentation of the cantata of
'Laila' by fifty young ladies, under the direction of Miss
Nellie E. Brown. The misses, ranging from five to fifteen
years, possess very sweet voices; and the music was given
with much taste, and a degree of artistic excellence
reflecting great credit on Miss Brown's efforts.... The
audience were greatly pleased with the rendering of the
music.... While the singing was good, there was exhibited
considerable dramatic art by some of the young ladies. The
dresses worn are neat and pretty, the fairy costumes being
very striking and appropriate. The stage, too, was neatly
set; and there was quite a good spectacular effort in the
representation of the fairy grotto."
At Haverhill, Mass., Dec. 13, 1876, Miss Brown again gave this
operetta, when the fifty young ladies appearing were chosen from the
high school of that city.
"The Haverhill Bulletin," Dec. 14, 1876, said,--
"The presentation of the operetta of 'Laila' at City Hall,
on Wednesday evening, was a very gratifying success.... The
whole affair was under the direction of Miss Nellie E.
Brown, the popular soprano of Grace Methodist-Episcopal
Church. She was assisted by some fifty young ladies of this
city; and the promptness and harmony with which all the
arrangements of the affair were carried out, as well as the
musical and dramatic talent displayed by them, are certainly
very creditable both to her superintendence and their
co-operation."
In the month of July, 1876, Miss Brown was engaged to sing at the
"Great Sunday-school Parliament" held on Wellesley, one of the famous
Thousand Islands, in the River St. Lawrence. The now much-lamented
Professor P.P. Bliss (who had become so eminent as a composer of
popular sacred songs), his talented wife, and Miss Brown, were the
leading singers and soloists on the occasion mentioned. The two former
failing to arrive in time, the musical exercises, which were of a very
fine order, were arranged, and for a while conducted, by Miss Brown.
Mr. and Mrs. Bliss, however, arrived some time after the sessions had
begun, and then participated in the singing. At this memorable
gathering of Christian people from all parts of the United States and
Canada, Miss Brown, in the display of fine musical powers, won new
laurels; and her charming singing was made the subject of frequent and
very complimentary allusion by newspaper correspondents writing from
the island. In a handsome volume since published by the director of
the "Parliament," and which is a record of its proceedings, she is
several times creditably mentioned.
The following is one of many like notices which the musical exercises
mentioned elicited:--
... "As to the singing of Professor Bliss and Miss Nellie
Brown, it seems as though we are all in the third heaven at
once, and that it is almost sacrilege to come down to meaner
things."
Said Andrew Fletcher, "I knew a very wise man that believed, that, if
a man were permitted to make all the ballads, he need not care who
should make the laws, of the nation." This certainly was placing a
very high, but perhaps not a much too high, estimate on the
song-writing power. As coming next in greatness to the composers of
meritorious popular ballads, we may mention those accomplished
persons, who, possessing sweetly-toned, sympathetic voices, and
evincing by their mode of expression a ready, a full conception of the
author's meaning, have, in an eminent degree, the power to correctly,
charmingly render them. In this form of musical expression Miss Brown
delights her audiences not less than in her rendition of songs of a
more pretentious character. In singing the former she exhibits a most
winning _naïveté_, enters wholly into the spirit of the song, and with
a full, pleasing voice, impresses deeply its melody and meaning upon
the hearts of her hearers, thus exhibiting the highest kind of lyric
eloquence. As a singer, then, of ballads alone, she would take high
rank in the musical profession, even if she did not excel--it has been
seen that she does--in the rendering of songs of a more technical
character.
And now, in nearing the close of this sketch, if any reader shall ask
to know the secret of the fine degree of success to which our subject
has thus far attained (for, in considering great instances of
individual achievement, we are ever prone to attribute the same to
mysterious or fortuitous circumstances), let him be assured that there
is really no "secret" about it. Miss Brown, no doubt, commenced her
career with much musical talent, and Nature was otherwise kind to her:
_but she has always been a diligent, persevering worker_; and to this
cause, rather than to her possession of rich natural endowments, must
be mostly attributed her praiseworthy achievements. Indeed, Nature's
generous bestowment of talents, or even of genius, is of but little
value when the favored one does not assiduously labor to cultivate and
develop the same.
"No good of worth sublime will Heaven permit
To light on man as from the passing air:
The lamp of genius, though by nature lit,
If not protected, pruned, and fed with care,
Soon dies, or runs to waste with fitful glare."
In her efforts to acquire an artistic acquaintance with music, and to
reach her present high and enviable position as a vocalist, Miss Brown
has had the warmest sympathy and active co-operation of loving parents
and an accomplished brother.[12] Nor should I in this connection fail
to advert to the helping, the inspiring influence of thousands of the
noble people of New England, who, fond lovers and constant promoters
of the beneficent art of music, are ever prompt in the recognition and
encouragement of _all_ its talented devotees. To the words of private
cheer from many of these, and to the inspiriting effect of their
upturned, delighted faces, and frequent plaudits, when listening to
her beautiful voice in the crowded music-halls, she must often revert
with feelings not less of justifiable pride than of the warmest
gratitude. The writer is quite sure that he but echoes the sentiments
of the admiring thousands just mentioned, when he predicts, that if
Miss Brown shall continue to exhibit in the future, as in the past,
the same conscientious, ambitious devotion to her chosen profession,
she is destined to take rank with the world's greatest singers.
[Footnote 12: Eugene L. Brown. He was possessed of very promising
histrionic ability, had frequently taken a leading part in amateur
theatricals at Dover and elsewhere in New Hampshire, and was the
author of a drama which was highly spoken of by the press of Dover.
Unfortunately, in 1875 he died.]
XV.
SAMUEL W. JAMIESON,
THE BRILLIANT YOUNG PIANIST.
"While a skilled artist's nimble fingers bound
O'er dancing keys, and wake celestial sound."
JULIAN.
"Nor Fame I slight, nor for her favors call:
She comes unlooked for, if she comes at all."
POPE.
"The entertainments at Parker Memorial Hall on Sunday evenings in no
wise lessen in interest and numbers. One evening, listening to
Gounod's 'Ave Maria' by the famous Germania Orchestra, we felt that
the worship of the Virgin, of which was born such heavenly strains, if
for no other reason, was not without its use in the world even now.
Another evening Mr. Jamieson awoke the echoes of the piano in a manner
to do credit to a Liszt and Chopin."
[Illustration: SAMUEL W. JAMIESON.]
Thus, a year or two ago, spoke one of Boston's first writers and
musical critics, when, in an article published in "The Commonwealth,"
alluding to the accomplished pianist, Samuel W. Jamieson.
In the comparison here made, so highly complimentary to our subject,
this writer does not stand alone; for the remarkably fine execution
of Mr. Jamieson has often drawn from other piano-students praise none
the less flattering; while his mastery of so many of the difficulties
that are connected with piano-forte playing, and his fine general
musical talents, entitle him to a prominent place in books far more
pretentious than this one. He has, in fact, attained to such brilliant
proficiency (although quite a young man) as to cause him to be already
ranked with the first pianists of the country.
Mr. Jamieson was born in Washington, D.C., in the year 1855. He began
the study of music, taking lessons on the piano-forte, when about
eleven years of age. Since then he has been under the instruction of
some of the best masters of Boston, such as James M. Tracy, and Fred.
K. Boscovitz, the celebrated Hungarian pianist. He has been a pupil of
the Boston Conservatory; from which classical institution he graduated
in honor in 1876, receiving its valuable diploma.
While a student at the Boston Conservatory, he was nearly always
chosen by the director, Mr. Julius Eichberg, to represent at the
quarterly concerts the fine progress made by its pupils. At such times
his performances of numbers, requiring rapidity of reading and
execution, together with a good knowledge of piano _technique_, drew
from the press the most favorable comments, and made him the favorite
piano pupil at the institution mentioned. The following, as an
instance of these comments, is taken from "The Boston Journal:"--
... "But the best thing in the piano line was the rendering
of Chopin's 'Polonaise,' in E flat, by Mr. Samuel W.
Jamieson. The 'Hungarian Rhapsodie,' No. 2, of Liszt, was
most particularly characterized by a delicate touch, and a
clear conception of the subject in hand.
"It is but just to say that this gentleman is an advanced
scholar."
And this from "The Folio," referring to another like occasion:--
"Mr. Samuel Jamieson, pupil of the Boston Conservatory, but
directly under the instruction of Mr. Tracy, carried off a
good share of the honors of the recent _matinée_ of that
very successful school."
"The Boston Traveller," describing the performances of pupils of the
Conservatory at Music Hall, after stating that all the performances
were of a high order, makes special mention of Mr. Jamieson, saying
that "his execution of a difficult number was worthy of the highest
praise." Many other comments equally favorable could here be given,
were it necessary.
His performances at these concerts soon made him widely known among
the musical and general public of Boston and vicinity, and his
services as a soloist became much in demand. As soon as he had
attained to a fair degree of proficiency, he began to give lessons on
the piano-forte; and by so doing, and by occasionally appearing at
concerts, he secured the means to continue his studies at the
Conservatory. His playing at one of these concerts was thus spoken of
in a Boston paper:--
"The concert given on Tuesday evening at the Music Hall,
though so little known as to be thinly attended, was a very
satisfactory entertainment, and well deserved a large
audience. Mr. Jamieson is a pupil of the Hungarian pianist
Mr. F. Boscovitz, some prominent features of whose style he
closely imitates. His playing shows him to be a careful,
conscientious student, possessed of real musical
sensibility, without any of the nauseous sentimentalism so
common among young players. His best performance in every
respect was Liszt's 'Rigoletto' fantasie, the mechanical
difficulties of which he has well conquered, and the
passionate meaning of which he interpreted very finely. In
answer to an encore of this piece, he gave Mr. Boscovitz's
exquisite little 'Chant du Matin,' Op. 68.
"He will make an excellent pianist if he prosecutes his
study as faithfully as he has commenced it. Mr. Jamieson
carries with him the good wishes and the highest
expectations of those who heard him."
He early showed a singleness of devotion to his chosen work, and has
always evinced a spirit of ambitious aim. Some particulars of the
latter, while winning him the approval of the thoughtful, have caused
him to be misunderstood and censured by others. With fine artistic
taste, ever aiming high, fully in earnest, and with no more than (as
the writer believes) a just estimate of his attainments and consequent
rank as a musician, Mr. Jamieson has sometimes declined to appear at
the "two-penny show" concerts given generally in the churches, and
often by "artists" (?) of abilities so poor as to render them fit
subjects for the training of a rudimentary music school rather than as
objects of public view or favor. Still I do not believe that Mr.
Jamieson has been unwilling to acknowledge the generally known fact,
that much good has often been done by amateurs and others at church
concerts, both by the aid thus afforded to meritorious causes, and by
the musical practice and public acquaintance obtained for themselves.
That he has not been without a ready sympathy for the persons or
causes to be benefited by such entertainments is well evinced by the
fact, that (notwithstanding he holds certain views mentioned in this
connection) he has appeared at times at the same, at the better kind,
making no charge for his services; and yet his occasional refusal to
appear at certain of these concerts has been attributed--generally by
ignorant persons, but sometimes also by others, who, as they knew
better, must have been influenced alone by bad motives--to his
possession of undue self-esteem, &c. But these unjust criticisms,
although often causing him pain, could never swerve him from his
chosen path. He would never lower his standard, and he always sought
to enter the lists with those who contended for the highest prizes in
art. The prominent position he holds to-day as an artist is proof that
his course has been the right one, and the one which should serve as
an example to all those young persons, who, endowed with musical
talents, are yet neglecting to cultivate the same; who are, in fact,
allowing them to gradually waste away by giving themselves to
unmusical, injurious associations; and who quite too often spend the
precious time that should be given under competent teachers to
diligent, untiring study, in appearances before audiences whose
applause, of doubtful value, is readily bestowed in unstinted
quantities, and which serves, alas! but to dazzle, to deceive, and too
often to permanently ruin, the young performer.
Mr. Jamieson's fine, ever-increasing musical abilities, his general
intelligence and gentlemanly bearing, soon gained for him the _entrée_
of the best musical circles of Boston and vicinity, and secured for
him association at concerts with the most advanced artists. During the
winters of 1875 and 1876 he several times appeared before large and
enthusiastic audiences at a series of entertainments given at Parker
Memorial Hall. A writer thus mentions his performances at one of these
concerts:--
"Mr. Jamieson, the pianist, was before the public last
season, and then gained strong praise. He is a promising
young artist, and his performances on this occasion showed
marked improvement. His selections embraced a fantasie on
the 'Wedding March' of Liszt, a fantasie on themes from
'Rigoletto,' and variations on 'Home, Sweet Home;' and in
all three he won deserved applause."
He has devoted himself solely to the piano-forte, and makes no
pretensions to a knowledge of other instruments, considering the
former as quite worthy of his undivided study,--especially in these
days, when, in his own city and state at least, fine piano soloists
are so numerous, and whose best performances he desires to equal, and,
if possible, to excel.