only the higher class of music. So determined is he in this respect,
that he will not play _dance-music_, not even that of the best order.
The writer once asked him to play one of Strauss' most bewitching
waltzes,--one full of those delicious, so to say, entrancing melodies,
for which the productions of this gifted composer are so noticeable,
and one which at the time had taken nearly every one completely
captive. I refer to the "Beautiful Blue Danube" waltz. But he declined
to play it. I again and again entreated him; for I not only delighted
to hear as often as possible this charming-selection, but, knowing Mr.
Jamieson's rare powers as a pianist, I was especially anxious to hear
_him_ give life to its magic strains. No amount of persuasion could
move him, however; and he finally ended the matter by telling me that
he never, under any circumstances, played dance-music, as he deemed
its practice an injury to one who wished to reach the highest
positions as a pianist. So I was compelled to pocket my
disappointment, and to go elsewhere for my "Beautiful Blue Danube."
Mr. Jamieson is an assiduous student, devoting several of the early
morning hours of each day to practice on the piano-forte. Even during
the heated term, when most artists neglect their instruments, and hie
away to enjoy the refreshing breezes of the sea-shore or the
mountains, he may much of the time be found at his rooms, undeterred
by the hot atmosphere, diligently at work keeping up the nice degree
of proficiency he has already attained, or bravely attacking whatever
difficulties remain to be overcome. He does, it is true, go away every
summer to a quiet nook in the country, remaining, however, only a
short while, and during which he does not, to any great extent, lessen
his hours of practice.
During the winter of 1874 he several times appeared at public concerts
in Boston and in other parts of New England. His performances at a
_soirée musicale_ at the Meionaon, Tremont Temple, Boston, were
alluded to in the following gratifying terms by "The Boston Globe:"--
"Mr. Jamieson exhibits much power and delicacy, and a
certain confident but not obtrusive manner, which will go
far, with his abilities, to place him in a high rank among
our pianists. He gave much satisfaction; his performance of
Liszt's fantasie on themes from Verdi's 'Rigoletto' showing
great skill in mastering the difficult technicalities in the
variations on the theme."
And in this manner by "The Boston Traveller:"--
"Mr. Jamieson has come into prominence in this city as a
pianist, and the ability he has shown has won him the regard
of musical people. His selections last evening were all of
the highest order, and were uniformly well performed.
Compositions of Chopin, Boscovitz, and Liszt, were given;
and in each a clear appreciation of the character of the
compositions was shown."
Referring to another occasion, "The Boston Globe" thus spoke of our
artist:--
"The participant best known to the Boston public, perhaps,
was Mr. S. Jamieson, who has appeared as pianist on several
occasions in public and private with marked acceptability.
He was on the programme for two solos, both of which were
given with a skill and an artistic conception that sustained
the favorable impression that he had previously made."
Mr. Jamieson has for some time cherished a hope of going to Europe,
there to place himself for a while under the direction of one or more
of the great masters of piano-forte playing; being firmly resolved to
leave nothing undone the accomplishment of which will place him among
the first pianists of the world. Those who know of his present
abilities commend him for this desire, and feel warranted in
predicting his complete success. Recently a few among the leading
musical ladies and gentlemen of Boston tendered him a complimentary
reception at the residence of one of the former, and at its close
presented him a sum of money to aid him in carrying out the purpose
just referred to. The occasion was thus alluded to by "The Daily
Advertiser:"--
"A musical _soirée_ was given last evening at the residence
of Mrs. Jno. W. Perry in aid of Mr. S.W. Jamieson, the
talented pianist of the Boston Conservatory, who
contemplates a pursuance of his musical studies in Europe
the coming summer.... The assemblage, which was one of the
highest order of respectability, thoroughly enjoyed the
choice music that was selected for their ears. Mrs. Kempton,
Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, Haggerty,
Walker, Willard, and Sweetser, contributed in a programme
made up of numbers from Rossini, Rubenstein, Schubert,
Bendel, Mills, Campana, Chopin, Violetta, Liszt, and
Gottschalk."
The writer of the above deemed it quite enough to merely mention the
names of composers and artists, leaving to the musical reader to
imagine (as easily he could) how rich and plenteous a feast of harmony
must have been furnished to those fortunately present on this
delightful occasion.
As may perhaps be inferred from the comments heretofore given, Mr.
Jamieson, as a pianist, is noticeable for the clearness of his touch,
the brilliancy of his style, and the thoroughness of his
execution,--not failing to exhibit these pleasing qualities even when
playing the most rapid passages,--while he ever shows a full and ready
sympathy with the spirit and aims of the composer.
His remarkable proficiency as a pianist, and the private and public
attention which the same has drawn to him, has secured him, from time
to time, many pupils and as a teacher he has been quite successful.
If the doctrine of "heredity" be true, Mr. Jamieson may trace his
possession of musical talent to his grandfather, who attracted much
attention as a musician.
But there is no easy road to proficiency and eminence in the musical
art; nor is there one in any other. Art is a right royal and exacting
mistress; and he who would be numbered among the favored attendants at
her court must fairly win the distinction by that devoted, undivided
loyalty which is ever accompanied by the severest study, the most
self-denying application. It cannot be denied, of course, that the
possessor of genius or of talent may succeed far more easily than he
who is without such powerful aid; but it is also true, that those who
by their works present examples of great achievement in the science of
music, and who cause us often to pause in utter amazement when
reflecting upon the exceeding beauty, the magnitude and grandeur, of
their creations, owed their brilliant success as much to indefatigable
labor as to their great gifts of mind. Indeed, as has often been said,
"_there is no excellence without great labor_."
So our young artist--of course I speak of him in this connection in a
comparative sense--owes his present high success not more to his
possession of rich natural talents than to the tireless zeal with
which he has cultivated the same.
Possessing naturally a loftiness of spirit, and with a just conception
of his powers; having full faith in and trusting himself; not
unmindful of, nor unduly elated by, the many commendations he has
received from critical judges touching his musical abilities; wearing
easily all the attentions and honors he so constantly wins, and
quickly noting and acting upon any suggestions of errors in his
performances; at all times a conscientious, a zealous student,
impelled by a deep and enthusiastic love for the art of music, and
never satisfied unless working amidst its higher forms,--possessing,
as Mr. Jamieson does, these rare and valuable characteristics, and
being withal still quite young, it is but reasonable to believe that
he will ere long attain to the highest distinction, and be ranked with
the very first pianists of the time in either the New or the Old
World.
XVI.
THE VIOLIN.[13]
[Footnote 13: The writer considers it proper to precede the sketch of
the virtuoso, Joseph White, by a brief account of that wonderful
instrument to which the latter has given his chief study, and in the
playing of which he has become in at least four countries so
deservedly famous.]
"Thou mystic thing, all-beautiful! What mind
Conceived thee, what intelligence began,
And out of chaos thy rare shape designed,
Thou delicate and perfect work of man?"
_"The Violin:" Harper's Magazine._
The violin, so often called the "king of instruments," is of great
antiquity. As to just when it was invented is a point as yet
unsettled, despite the indefatigable researches of historians of music
and of general antiquaries. The instrument certainly existed, however,
as early as the sixth century; this being proven generally by the
figures of violins observable on very ancient and respectable
monuments still existing, and particularly by a figure cut in the
portico of the venerable Cathedral of Notre Dame in Paris, founded by
Childebert in the sixth century, which figure represents King
Chilperic with a violin in his hand.
It being thus used in a representative character shows, too, that it
has for many hundreds of years been a favorite instrument. Of that
ancient guild of musicians, the troubadours,--so long the principal
devotees and custodians of the divine art,--those were most esteemed
by royalty and the general public who were the best violists.
In the construction of most musical instruments, improvements have
been constantly made up to the present time. This is particularly true
of the piano-forte; the handsome form, and the purity and beauty of
tone, observable in a lately-made "Chickering" or "Steinway,"
rendering them so much superior to a piano of the olden times, as to
barely admit of the latter's being called by the same name. But this
is not true of the violin, inasmuch as a long time has elapsed since
any change has been made in its construction that would add to its
delicate, graceful form, to its nicety, sweetness, and purity of tone,
or general musical capacity. To-day a Cremona, or an Amati, as well as
violins of other celebrated makers of the long past, commands almost
fabulous prices. A Cremona very lately sold for four thousand dollars;
while such instruments as I have mentioned, when in the possession of
a soloist, are scarcely to be purchased at any price.
Up to the times of the celebrated violin-virtuoso, Paganini, there had
not been, it would seem, much improvement made in performance upon
this instrument. He startled and electrified the musical world, and in
his wonderful playing developed and amplified such resources and
effects, both as to instrument and performer, as were not, previously
to his coming, thought possible. After him, and to be compared with
him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The
latter, although not as yet so well known as the others (he is only
a little over thirty years of age), is considered by competent critics
to be fully entitled to rank with them.
But these are "bright particular stars," men of genius. The instrument
is so difficult of mastery, that few violin-students may hope to equal
such marvellous players as those mentioned; although long-continued
and severe application may make them good orchestral performers or
fair soloists.
The violin is said to be the "king of instruments;" but, by this,
reference is made to those powers and extensive resources of
expression that are made manifest when the instrument is subject to
the brain and hand of the very skilful performer.
At such a time it is made to sing a song, which, readily awakening the
sympathies of the soul, causes the listener to recognize and feel the
effects of the intonations of pathos, of passion, of deepest
melancholy, or those of lightsomeness and wildest joy.
Indeed, this noble instrument, under the deft fingering and skilful
bowing of a master-player, becomes almost sentient, and is shown to
possess the superior and exclusive power of expressing nearly all the
human voice can produce except the articulation of words. A
music-teacher once wrote that "the art of playing on the violin
requires the nicest perception and the most sense of any art in the
known world;" and many there are who will agree with him.
The purity, the sweetness, of its tones,--to produce which calls into
exercise the most delicate faculties of the mind,--and the power of
these tones to awaken in the heart the most tender feelings, to lead
the performer at times into delightful imaginations, into pleasing,
restful reveries,--it is the possession of such charming qualities as
these that has rendered the violin at all times the favorite companion
of the leisure moments of men eminent in the walks of literature, of
princes, and other persons of taste and refinement. Some among those
first mentioned have excelled as violin-performers, notwithstanding
their other occupations.
Girardini, when asked how long it would take to learn to play the
violin, replied, "Twelve hours a day for twenty years." Another thus
intimates how long and arduous must be the toil before its mastery can
be acquired:--
"The difficulty of thoroughly mastering the violin--the
difficulty, that is, of combining perfect execution with
brilliancy of tone and perfect expression--is so vast, that
nothing short of indomitable patience and perseverance,
united with those indispensable faculties which all good
players must possess, will succeed in overcoming them.
'Twelve years' practice,' says a musical critic, 'on the
violin, will produce about as much proficiency as one year's
practice on the piano.' If that is so, we may well imagine
that a man, who by dint of perseverance has at length
qualified himself to take his place in an orchestra, may
content himself by merely maintaining his acquired skill,
without attempting to rival the great heads of the
profession.
"The time which some students will devote to fiddling is
almost incredible. We have known a clever man to practise
every waking hour in the day, rising early and sitting up
late, and sparing hardly one hour in the twenty-four for
meals, for two years together, in the hope of qualifying
himself for the leadership in a provincial orchestra; which,
after all, he failed in doing. We have known men who fiddled
in bed when they could not sleep, rather than waste the
time; and others who have carried a dumb finger-board in
their pockets, in order to practise the fingering of
difficult passages while walking abroad or travelling by
coach."
It is, however, far from the purpose of the writer to discourage
those who may wish to become proficient as performers on this
delightful instrument, or to do otherwise than attempt to increase the
number of those, who, having carefully listened to master-players, and
having thus learned of the wonderful intonations and of the great
refinement of musical expression of which the violin is capable, have
resolved to become far more than mere "fiddlers;" and are therefore
conscientiously and patiently addressing themselves to an endeavor to
overcome its difficulties, and to take rank as real violinists. To
many of this number a good if not a perfect degree of success must
come, as it ever surely comes to the earnest, persevering student of
any art.
To all such, then, the writer tenders his best wishes; while he
earnestly commends the above examples to all who may have a desire to
learn to develop the beautiful harmonic mysteries of this expressive,
soulful instrument.
XVII.
JOSEPH WHITE,
THE EMINENT VIOLINIST AND COMPOSER.
"Across my hands thou liest mute and still:
Thou wilt not breathe to me thy secret fine;
Thy matchless tones the eager air shall thrill
To no entreaty or command of mine.
But comes thy master: lo! thou yieldest all,--
Passion and pathos, rapture and despair:
To the soul's needs thy searching voice doth call
In language exquisite beyond compare."
_"The Violin:" Harper's Magazine._
Mr. Joseph White[14] is a child of the New World. He was born in
Matanzas, Cuba. His first steps in art were made in his native town.
[Footnote 14: By permission of Mr. White, I quote now, and to some
extent shall do so hereafter, from his Biography, published in Paris
in 1874 by Paul Dupont. For the excellent translation used I am much
indebted to my friend Mr. Joseph W. Hendricks of Boston.]
His father, an amateur in music, thought he had recognized from the
early infancy of the great artist a more than ordinary taste for art.
When the child heard the tones of a violin, he used to leave off play,
and run in the direction where the instrument was singing, his eyes
never losing sight of the virtuoso. Indeed, by his actions at
such times, he seemed not to belong to this world.
[Illustration: JOSEPH WHITE.]
As soon as his hands were large enough to hold a violin, they gave him
one; and were much astonished, when, at the end of a few months, he
presented himself before a large audience, striking the same with
amazement by the manner, entirely magisterial, in which he so early
attacked the instrument.
He continued his studies until the year 1855, when, at the suggestion
of the famous Gottschalk, who had noticed the signs of genius in the
young man, he started for Paris, the city of wonders, and centre of
attraction for all aspirations.
He came then, this young virtuoso, and presented himself at the
Conservatoire, asking to enter as a pupil. After going through a
brilliant examination, and after fighting against more than sixty
rivals, he was received with unanimity.
In July, 1856, one year from the time of his entering the
Conservatoire, White won all the "approbations," and wreaths and
laurels were given him.
But we will let the newspapers of the time speak; for our own pen will
be powerless to give an account of the successes of the eminent
artist. The "Gazette Musicale" of the 3d of August, 1856, speaks
thus:--
... "We will say as much of the pupil who has won the first
prize for violin, and who came the last in the list of
concurrents. The Viotti Concerto had already been played
nineteen times; and, notwithstanding the great beauties of
this classic work, the jury began to listen to it with but a
dreamy ear. Mr. White appeared the twentieth. He belongs to
a race whose complexion is more of a copper-color, with
black and frizzled hair. He carries the head high, and his
look is proud and intrepid. He approaches the eternal
concerto, and it instantly becomes an entirely new
creation.
"The jury listened to it with as much pleasure as if they
heard it for the first time; and scarcely had Mr. White
finished this piece when the jury retired to vote,
proclaiming him the victor.
"Mr. White is eighteen years and a few months old. Since a
year ago he has been in the Conservatoire, and studies in
Alard's class.
"But where has he taken his first lessons? How did this son
of America become the equal of the greatest violinists known
in Europe? That is what we do not know, and what we ask to
know for the honor of the American school, of which Mr.
White is a splendid example."
The paper, "Le Pays," of the 5th of August, 1856, expresses itself in
terms none the less flattering:--
"The concourse of violinists has presented this year a
beautiful sight. The fight has been one of the most
brilliant. The first prize has been awarded to Mr. White,
pupil of Mr. Alard.
"... As for Mr. White, he showed himself so much superior,
that there ought to have been (so we think) created in his
favor an exceptional prize. He has played with an
extraordinary animation, not like a pupil, but like a
master,--like a great artist who commands his auditory. The
jury itself was electrified. In order to compete with that
young man, there ought to have been masters there."
It was at this brilliant concourse that Rossini, the great composer,
remarked of White, "Since the day he took an interest in him, and
protected the young artist, there was no festivity at the maestro's
without the violinist playing on his melodious instrument." Besides,
this letter from Rossini, addressed to White at the time of his
father's sickness, shows how much the master loved him:--
TO MR. WHITE. _Sir_,--Allow me to express to you all the
pleasure that I felt Sunday last at my friend Mr. David's.
The warmth of your execution, the feeling, the elegance, the
brilliancy of the school to which you belong, show qualities
in you as an artist of which the French school may be
proud. May it be, sir, that through my sympathetic wishes I
may bring you good fortune by finding again in good health
the one for whom you fear to-day! Accept my blessings. Sir,
I wish you a happy journey, and a speedy return.
G. ROSSINI.
In November, 1858, Mr. White was obliged to return to Havana, called
back to his dying father. He then left France; accounts of his success
in which, carried to the dying man, were a sweet consolation and
happiness,--thus to see, before dying, his son who was called to such
a brilliant career. After the death of his father, he started for
France again; not, however, without having first obtained great
success in different cities of Cuba, where he was received in triumph.
Gottschalk, the celebrated pianist, who was one of the first who had
advised White's family to send him to Paris, said that in all his life
he had never seen such a beautiful success, and such a deserved one.
After his return to Paris, White gave a great concert.
"L'Illustration" of the 4th of May, 1861, gives an account of that
evening's entertainment in the following terms:--
"Mr. White, whom America sent to us a year ago, I think,
through a courageous work, developed the talent which had
caused him to receive the first prize at the Conservatoire.
He played with equal success the concerto by Mendelssohn,
and Paganini's fantasias: which is to say, that he is ready
to play every thing you may wish; for there is a place for
every thing between these two extremes. He played even his
own music; and played at his concert a composition for
violin and orchestra, very well instrumentated, full of
happy melodies, and where the principal part contained
features of a character as ingenious as piquant. He
possesses an extreme dexterity in the use of the bow, and
makes the staccato with as much audacity as perfection. He
has the tone agreeable, the style elegant, and the
expression just, and not affected. Here he is, then, placed
in the first rank in that glorious phalanx of violinists
which Europe envies us."
After having given a splendid description of this concert (which want
of space forces us not to publish here), the "Patrie" of the 30th of
April, 1861, speaks thus:--
"We have seen Mr. White begin. We have been present at the
concourse at the Conservatoire, where he won successively
all the prizes. Then it was but a scholar who gave brilliant
hopes: it is a master that we congratulate to-day in him."
Some time after, he left for Spain, where he played at Mme. the
Comtesse de Montijo's (mother of the Empress of France), and before
the Queen of Spain. Her Spanish Majesty presented him, the brilliant
virtuoso, with a magnificent set of diamond studs, and created him
chevalier of the order of Isabella the Catholic. We reproduce some
lines from "La France Musicale" of the 22d of November, 1863:--
"White, the violinist, has had the honor to be received on
the 12th of this month by the Queen of Spain. Her Majesty
has accepted the dedication of a piece composed by this
eminent artist, and has told him that she would try and find
an occasion for hearing him play it; and, in fact, our
violinist played at the queen's on the 22d of December."[15]
[Footnote 15: For further accounts of his career in Spain, the reader
is referred to La Correspondencia of 23d December, 1863; La Epoca, La
Discusion, &c., of about the same date.]
After his return to France, he played at the Tuileries before their
Majesties Napoleon the Third and the Empress Eugénie. These sovereigns
congratulated the artist most fully. We reproduce an extract from the
"Constitutionale:"--
"In the concert given at the Palace of the Tuileries on the
1st of March, Mr. White, violinist, and very distinguished,
executed a fantasie on Nabucco by Mr. Alard, in which he
displayed all the qualities of a virtuoso. He knows how to
make his instrument sing; and, when a difficulty presents
itself, he carries it with a fascinating majesty. He is an
artist who has succeeded in taking place among the best
violinists of France and Italy."
This was going on in the year 1864.
This same year, Alard, White's old professor, was obliged to be
absent, and leave his class in the care of others. After considering
into whose care he should leave his class, Mr. Alard thought that
White was more able to help him than any other,--White, his old first
prize. Since that day, it was he, who, during the absence of the
master, has had the directing of his class at the Conservatoire. In
order to thank him for his services so well given, Alard presented
White with a magnificent bow ornamented with gold and with
tortoise-shells.
One reads in the "France Musicale" of the 24th of December, 1864, the
following lines:--