tour in the country, has just returned to Paris. During his
absence, one of his pupils, Mr. White the violinist, took
the management of his class at the Conservatoire."
The "Art Musicale" of the 15th of January says,--
"Our celebrated violinist Alard is now in Nice, where he
expects to spend a month. It is the violinist, Mr. White,
who is charged with the direction of his class at the
Conservatoire."
The "Presse Théâtrale" of the 26th of January, 1865, says,--
"In leaving Paris for a journey, the length of which is not
fixed, Mr. Alard has confided the care of his violin class
at the Conservatoire to Mr. White. This choice, there is no
need to say, has been approved by the ministry of the
emperor's house, and that of the Beautiful Arts. We need not
say how much this honors the young artist who is the object
of it."
After this new victory, our eminent violinist was heard at the Société
de Concerts of the Conservatoire of Paris, where he was admitted as a
member. He played the piece in F by Beethoven; and, when a second time
they encored the artist, he distinguished himself in a classic
work--the concerto by Mendelssohn--which masters alone dare to
confront. The success was complete. One could have heard the buzzing
of a fly in the hall. All eyes and hearts were in complete subjection
to the bow of the young virtuoso.
Here is how the eminent musical critic of the paper "Le Siècle," Mr.
Commettant, expresses himself on the date of the 13th May, 1872:--
"At the last concert of the Société de Concerts, Mr. White,
violinist of our beautiful French school, a composer learned
and inspired, executed the concerto by Mendelssohn, one of
the most melodious and the best proportioned of this
illustrious master. The virtuoso showed himself the worthy
interpreter of the composer; and through his playing, full,
correct, warm, and well-moderated, Mr. White has obtained a
success which is akin to enthusiasm. They unanimously called
back the artist; and he came to bow to the public, and then
calmly went back to his place in the orchestra, from which
he had just stepped forth. These are things which are only
to be seen in this celebrated musical company of the
Conservatoire, which, in spite of everything, remains the
first orchestra of the whole world."
The "Ménestrel" of the 12th of May, 1872, says,--
"Let us recognize the great success won last Sunday at the
Conservatoire by the violinist White, in the concerto by
Mendelssohn. He is an artist now complete, this young rival
of the Sivoris and of Vieuxtemps. He is not only a virtuoso,
but also a composer of note, having published several very
remarkable pieces for the violin. We shall notice his six
brilliant 'Studies for the Conservatoire.' He has composed
one concerto with large orchestral accompaniment, a quatuor
for strings, 'Songs without Words,' several fantasies, and
several pieces for one and two violins."
His concerto brought forth the following lines in the "France
Musicale" of the 3d of March, 1867:--
"Mr. Joseph White is one of the most distinguished
violinists of the French school. While yet very young, he
jumped with one bound to the first rank; and since then he
has each day strengthened his reputation through new and
incontestable successes. He has always distinguished himself
as well by the manner, grand and magisterial, with which he
renders the masters' works, as by his style, together
elegant and sober, when he interprets music of our time. In
order to be more than a virtuoso of note, there was only one
thing wanting in him; and that was to cause himself to be
appreciated as a composer.
"If virtuosity is acquired through obstinate work, guided by
good studies, and helped by that indispensable element,
natural aptitude, genius is a gift from Heaven, which
neither treatise on harmony, nor the works on counterpoint,
nor a given song, shall ever procure to those who have no
sacred fire.
"Last Tuesday Mr. White gave a concert in the Herz Hall; and
here he has had the good fortune to receive, from the
delighted audience that surrounded him, a double wreath,
given together to the violinist and to the composer. The
concerto he played, and whose author he is, is one of the
best modern conceptions we ever heard of the kind.
"The style of a concerto must be, at the same time, serious
in thoughts and in their developments, graceful and
brilliant, in order to bring forth the talent of execution
of the virtuoso. Here is a double reef to avoid, and here
many artists have been wrecked. Vieuxtemps and Leonard are
the modern masters who have been the most successful in this
difficult style; but how many have been less happy!
"Mr. White's concerto is very temperate, of unnecessary
length. The fabric of it is very well cared for; the
mother-thoughts are well separated from the very
commencement; the harmonies are unmistakably elegant and
fine; and the orchestration is written with a firm and sure
hand, without fumblings or failings. The three episodes are
naturally united by the _tuttis_; the third movement,
'_rondo à la turca_,' is charming in cut and manner, its
rhythms original and frank, and has won all approbations,
and brought forth several times unanimous _bravos_ from the
whole assembly. This composition of a high value has been,
in one word, the object of a true ovation for Mr. White, who
was both author and composer."
The "Art Musicale" speaks thus of this concerto:--
"From the first measures one feels himself in presence of a
nature strong and individual, and not in the presence of a
_proletaire_ of the large tribe of virtuoso composers.
"Not a single note in the composition has been given to
_virtuosité_, though the difficulties of execution be
enormous. 'With every true artist there is an eternally
vibrating chord, which goes to the heart,' says Boileau; and
that is why Mr. White asks only that his own emotion shall
excite emotion, and, to the astonishment of charlatanry,
renounces at once those means of success employed by coarse
musicians."
Then follows an analysis of the work, which want of space prevents us
from giving. No need to say that it is favorable to our
violinist-composer.
We will mention only some of the papers which have spoken of the
evening in question,--"La France," "La Liberté," "La Revue et Gazette
des Théâtres," "La Presse Théâtrale," "La Ménestrel," "La Semaine
Musicale," &c.
On the subject of the "Quatuor for Stringed Instruments" we will cite
the article of the "Gazette Musicale" of the 12th of March, 1872:--
"The old Schumann Society, all concerts of which are
consecrated to the liberation of the territory, is not as
exclusive in the composition of its programmes as its title
would make you suppose.
"Thus is it that one has there very vivaciously applauded,
Saturday, a 'Quatuor for Stringed Instruments,' by Mr.
White. We signal this beautiful composition to the amateur's
attention. This young master shows in it the most serious
qualities united to a perfect clearness and purity of
melody, with execution very remarkable, and which received
one of the warmest receptions."
Here is the document we have before mentioned:--
IMPERIAL CONSERVATOIRE OF MUSIC AND DECLAMATION.
(_Extract of the Document of the Seating of the Committee on
Musical Studies, 16th December, 1868._)
The Committee on Musical Studies for Violin, of the
Conservatoire, has read with interest the work which Mr.
White has presented for its approbation.
The work is composed of six studies for violin, where the
principal difficulties of execution which that instrument
presents are confronted.
One remarks in these pages ingenious combinations proper to
develop the mechanism of the left hand.
The committee approves these six studies, called to fortify
the talent of a violinist.
(Signed)
AUBER,
_Director of Conservatoire, and Pres. of Committee._
Then follow ten signatures of members of the committee.
As a token of his artistic value, four great masters have presented
White with their likenesses, with the following dedications:--
"Remembrance, admiration, and thankfulness are offered to my
young friend White, a violinist very distinguished.
"(Signed)
"G. ROSSINI."
"To Mr. White, whose talent is an honor to the
Conservatoire.
"AUBER."
"To Mr. White. Friendly remembrance.
"AMBROSE THOMAS."
"To my young friend White.
"GOUNOD."
The numerous medals sent to him by the musical societies are homages
rendered to his merit.
What remains to say after all these proofs of an incontestable talent?
There is nothing we might wish for Mr. White in what touches his art:
in it he unites every thing. He is certainly one of the most toasted
and most appreciated professors of Paris, the soloist beloved by the
public.
We repeat it, we can say nothing more, but that we wish to hear him as
much as possible.
* * * * *
And here his biographer, after thus expressing, in terms the most
affectionate and flattering, his inability to say more that would add
to a fame so great, so nobly and so rapidly won throughout Cuba,
France, and Spain,--here he closes the record.
With all these brilliant and remarkable achievements, with all these
rare honors so enthusiastically awarded him by the most distinguished,
the very _élite_, of the musical profession, both singly and
combinedly, and by the sovereigns of France and Italy, White might
well have rested, indulging himself in no further acquisitions.
But men of such transcendent powers, men within whose souls the fire
of musical genius so brightly burns, _cannot_ stop; for the essence,
the very soul, of music, is the predominating, the all-absorbing
quality that forms their natures; and therefore it is that their ever
new, their ever charmingly beautiful revelations in divine harmony,
cease only when the sacred flame is extinguished by death itself.
Thus, then, it was with the subject of our sketch, who was to gain new
laurels in still another country. To speak of the same briefly is the
cause of this continuance of his history.
Although born so near the United States (in Cuba), White had never
until the year 1876 visited this country. In that year, however, he
came to New York. In keeping with that modesty of demeanor, which,
despite the many and rare honors he had won in Europe, had ever
characterized him, he came to our shores unpreceded by that blowing of
trumpets (usually paid for) which generally heralds the approach of
the foreign artist; and quietly, unostentatiously addressing himself
to the _duties_ that belonged to his beloved art, little was heard of
him by the general public for some time. But such almost marvellous
power as this artist, this master, possessed, could not long remain
unrevealed. People of musical culture were ere long electrified by the
sweet tones of wondrous melody which with perfect ease he drew from
his violin. That terrible barrier so often, even at the present time,
erected in this country, that shameful obstruction, _color prejudice_,
could not long withstand the attacks of this quiet yet courageous
musical genius; and people, at first indifferent because of his
complexion, were won anon to his favor, not alone by his exceptional
skill as a performer, but also by the polish, the ease and dignity, of
his manners, so refreshingly free from ostentatious affectation on the
one hand, or hesitating timidity on the other. They found that he was
indeed the true, the conscientious artist, who loved music for its own
sake, and was imbued with a spirit of truthful enthusiasm, in such
pleasing contrast with the characteristics exhibited by many of the
foreign artists who had preceded him, as to render the same decidedly
charming. The possession of these rare traits of character served, of
course, to add to the attractiveness of a form which was one of most
pleasing symmetry.
A knowledge of his great abilities as a soloist spreading among
musicians in New York, he was induced to appear in public. It is
needless to say that his success was unequivocal. Of the impression
he made in New York, a city that has so often been the scene of the
success or failure of the foreign artist, I shall call another
person--a purely disinterested and competent art critic--to testify in
the following, written from New York to "The Musician and Artist" of
Boston of March, 1876:--
"Joseph White is in some respects the best violinist who has
visited this country within my remembrance, _not_ excepting
Wieniawski. He and his companion Ignasio Cervantes, pianist,
made their appearance in this city some few months since,
very modestly advertised, and unheralded by any sensational
newspaper paragraphs, and at their very first concert
insured themselves undoubted future success. This success
has been due entirely to White; for, although Cervantes is
quite a nice pianist, he is nothing wonderful. But White was
a _revelation_. His first New-York introduction to a large
general audience was at a philharmonic concert (the date of
which I cannot now recall), when he played the Mendelssohn
concerto and the Bach chaconne. The Mendelssohn concerto was
excellently played, especially the last movement; but it was
in the Bach chaconne that he proved how really good he was.
I have heard this composition by every violinist of eminence
(except Vieuxtemps) who has visited our city; but I never
heard so satisfactory a playing of it. The three voices
flowed on so smoothly and evenly, never seeming to be in
each other's way: there always seemed to be plenty of bow,
and just in the right place for each individual voice to
receive exactly its due prominence. The vociferous recall
that followed this worthy performance was well earned. White
is a Cuban mulatto, fine-looking, and extremely gentlemanly
in appearance and conversation. A Brooklyn writer speaks of
him as follows: 'His style is perfection itself; his bowing
is superb, and his tone exquisite. His execution is better
than Ole Bull's; he possesses more feeling than Wieniawski;
the volume of his tone is greater than that of Vieuxtemps.'
All of which I indorse."
On March 12, 1876, he appeared in New York as soloist at a grand
concert given by that justly celebrated and almost perfect body of
musicians, the Theodore Thomas orchestra. His performances on this and
several previous occasions elicited the most enthusiastic and
unbounded praise from the critical "Arcadian" and the other New-York
papers, nearly all of whom placed him beside the three or four great
violin-artists of the world.
On the 26th of March, 1876, White appeared at a grand concert given in
the Boston Theatre, in company with Levy the renowned cornetist. I
shall long and delightfully remember the emotions of thrilling
pleasure produced in my own breast by this virtuoso's magnetic
execution, and the feelings of joyful pride that I experienced when
witnessing, on this occasion, his great triumph. After he had played
the first few bars of the "Ballade et Polonaise" by Vieuxtemps, the
audience felt that he was a master; and his reception readily became a
grand ovation. He received a double encore after the performance of
each regular number on the programme. But of his grand success on this
occasion I shall let the journals of Boston of March 27, 1876, speak.
"Daily Globe:"--
"The concert at the Boston Theatre last evening attracted
one of the largest audiences of the season; and it is seldom
that any artist receives such an ovation as that which was
given to Señor Joseph White, the Cuban violinist, who made
his first appearance before a Boston audience. The numbers
on the programme assigned to this gifted artist were a
'Ballade et Polonaise' by Vieuxtemps, and 'Chaconne' by J.S.
Bach; but a double encore to each of these was responded to
by other selections, including the 'Carnival of Venice,' and
a gavotte by Bach: all of which were rendered with a
perfection rarely heard in violin performances, and recalled
the best efforts of Ole Bull."
"Boston Journal:"--
"The chief feature of the concert at the Boston Theatre last
evening was the appearance of a new violinist, Señor Joseph
White, a Cuban, who has lately created quite a sensation.
Rarely has any artist created so great a _furore_ in a
single hearing as Señor White. His really wonderful playing
took the audience captive at once. His tone is remarkably
true, pure, and firm, and his execution at all times clear
and perfect. In short, he seems to have perfect command of
the instrument."
"Herald:"--
"He handles the king of instruments with the utmost ease and
confidence. He has no useless flourish in his manner, and
none of the 'hifalutin' in his style. He draws and pushes
his bow, and the instrument responds with delightful
sweetness and passionate eloquence. He is probably entitled
to a place in the catalogue of first-class violinists.
Certainly those who heard him last night accorded him
praises which would have perhaps ruined a less vain man."
"Daily Advertiser:"--
"But the success of the evening may be awarded to Joseph
White. He plays in a style together firm and strong, and
delicate and refined. His masterly rendition of Vieuxtemps'
well-known 'Ballade et Polonaise' at once captivated the
audience, and he was enthusiastically encored; and, the
audience still calling for more, he played 'The Carnival of
Venice.' This second selection was played without
accompaniment; and he again was triply encored, the last
time giving an air from 'Sonnambula.'"
I have reserved for the last a very excellent critical analysis of our
artist's performances. It is taken from "The Daily Evening
Transcript."
"The Sunday-night concert at the Boston Theatre last evening
was made memorable by the introduction to the Boston public
of Señor Joseph White, the Cuban violinist.... The musical
fraternity, however, was very fully represented, the
musicians knowing something of what was in store for the
evening. But not even they were prepared for the wonderful
and delightful playing of Señor White.... The first of his
work last night was something of a disappointment. There
appeared to be a deficiency of tone, owing, as it seemed, to
the use of an instrument not loud enough for so large an
auditorium. But it was soon evident that the selection of
such an instrument was in accordance with the style and
taste of the artist. Possessing the most perfect ease and
freedom in his command of the resources of the violin, with
a fine breadth of style, and an evidently strong and quick
sensibility, yet he did not aim to produce his effects on a
large scale of tone. He seemed to desire to confine his
exhibition of the violin to the range where its fineness and
sweetness, rather than its power, may be illustrated, and to
check himself inside of the limit where a coarse, scratchy
body of tone is obtained at the expense of purity and
delicacy. His bow, though 'dividing the strings with fire,'
seemed never to touch them. The direction or the position of
its stroke, whether up or down, at the beginning or at the
end of it, could never be told from any changes in the
quality of the sound extracted. The tone flowed as though
after the keen incisions of a knife-blade, not as if scraped
out by the friction of horse-hair upon catgut. When to this
delicious quality of tone was added an exhibition of the
most perfect _technique_, the triumph of the virtuoso was
complete. The mysterious flowing softness and smoothness of
tone was carried with unflagging facility through the most
rapid and difficult chord and harmonic playing; and this,
with other wonderful feats of bowing, added new and
bewitching charms to the _diablerie_ of violin variations.
The reception of the artist was cordial at the outset; but
at the close of the first performance, a 'Ballade et
Polonaise' by Vieuxtemps, the enthusiasm was overwhelming.
In response to the encore, Señor White played a 'Styrienne'
of his own arrangement; and this was followed by two more
stormy recalls, the audience refusing to be quieted until he
had again gratified them, this time with the 'Carnival of
Venice,' arranged by himself in an elegant transcription of
the familiar commonplace variations. At the conclusion of
his second number, Bach's 'Chaconne,' a famous and difficult
violin solo, which was played, and _interpreted_ as well, in
a most masterly manner, the applause was again equally
enthusiastic, notwithstanding the character of the
selection; and for an encore the scholarly artist responded
with a finely intelligent and daintily clean-cut rendering
of a gavotte by Bach. The tumultuous recalls that followed
this would be satisfied with nothing less than another
performance; and Señor White gave a rich and pleasing
arrangement of his own upon a popular air from 'Sonnambula.'
With these two 'double encores,' amid such excitement as is
rarely witnessed at a concert, Señor White may well add
Boston to the other American cities that have 'adopted'
him."
And here, for the present, we will take leave of our great violinist.
It is not probable that he obtained, while in this country, a very
great pecuniary success; and, from what has been heretofore stated in
regard to his characteristics, this will not seem strange. White was
not a _showman_. He has ever been too purely, too entirely devoted to
his chosen art to admit of his using the means generally employed by
the mere money-seeking musician,--means which seem so out of keeping
with those finer aspirations which a contemplation and practice of the
noble art of music are expected to promote, and the use of which,
detracting as it does from his dignity, lessens the respect, the
admiration, which people of culture would fain feel for the gifted
performer.
A few months ago our artist sailed for Paris, the scene of his
earliest triumphs. He has gone from our shores with his brow laden
with new laurels, all honestly won; and he leaves behind an admiring
multitude of musical people who will ever watch with deepest interest
his future career, and fondly wish for his speedy return. Therefore we
do not say to him "_Adieu!_" but "_Au revoir!_"
XVIII.
THE COLORED AMERICAN OPERA COMPANY.
"Who, as they sang, would take the prisoned soul,
And lap it in Elysium."
MILTON.
"For, wheresoe'er I turn my ravished eyes,
Gay gilded scenes and shining prospects rise;
Poetic fields encompass me around,
And still I seem to tread on classic ground."
ADDISON.
The opera, or music drama, in which, in lieu of the ordinary forms of
speech, music and song are used to give elevated expression to
thought, is the most extensive, and, to nearly all lovers of melody,
the most charming, of musical compositions. In its construction
several of the other forms of music are most pleasingly united.
In the opera, with the language of poetry, music is associated, giving
increased ornamentation; and it is used also to bridge over, so to
speak, the places where mere language, either common or poetical,
could never pass. That is to say, there are some phases of feeling of
such fineness and depth, that only the soulful tones of music can
call them into exercise, or give them expression.
The requirements for operatic construction are of course very
great,--so great, that none may hope to succeed in the same save those
endowed, if not with genius, at least with very superior talents. They
must possess both marked originality, and power for continuity of
thought; in fact, must form in their capabilities a very "Ariel," a
fountain-head of music, from which must constantly flow melody after
melody, harmony after harmony, ever new, ever pleasing, the whole
presenting an artistically-woven story of the vicissitudes of human
life. In the composition of an opera, two persons are usually
associated; the one creating the words of the drama (the song), and
the other composing its music.