Chapter 7

"It may perhaps be considered a providential concurrence that Mrs. Harriet Beecher Stowe was in London this same time with Miss Greenfield. We notice in her 'Sunny Memories,' under the date of May 6, the following remarks: 'A good many calls this morning. Among others came Miss Greenfield, the (so-called) "Black Swan." She appears to be a gentle, amiable, and interesting young person. She has a most astonishing voice. C. sat down to the piano, and played while she sang. Her voice runs through a compass of three octaves and a fourth. This is four notes more than Malibran's. She sings a most magnificent tenor, with such a breadth and volume of sound, that, with your back turned, you could not imagine it to be a woman. While she was there, Mrs. S.C. Hall, of the "Irish Sketches," was announced. I told her of Miss Greenfield; and she took great interest in her, and requested her to sing something for her. C. played the accompaniment, and she sang "Old Folks at Home," first in a soprano voice, and then in a tenor, or baritone. Mrs. Hall was amazed and delighted, and entered at once into her cause. She said she would call with me, and present her to Sir George Smart, who is at the head of the Queen's musical establishment, and, of course, the acknowledged leader of London musical judgment.

"'In the course of the day I had a note from Mrs. Hall, saying, that, as Sir George Smart was about leaving town, she had not waited for me, but had taken Miss Greenfield to him herself. She writes that he was really astonished and charmed at the wonderful weight, compass, and power of her voice. He was also as well pleased with the mind in her singing, and her quickness in doing and catching all that he told her. Should she have a public opportunity to perform, he offered to hear her rehearse beforehand. Mrs. Hall says, "This is a great deal for him, whose hours are all marked with gold."'

"Again Mrs. Stowe says, 'To-day the Duchess of Sutherland called with the Duchess of Argyle. Miss Greenfield happened to be present; and I begged leave to present her, giving a slight sketch of her history. I was pleased with the kind and easy affability with which the Duchess of Sutherland conversed with her, betraying by no inflection of voice, and nothing in her air or manner, the great lady talking with the poor girl. She asked all her questions with as much delicacy, and made her request to hear her sing with as much consideration and politeness, as if she had been addressing any one in her own circle. She seemed much pleased with her singing, and remarked that she should be happy to give her an opportunity of performing in Stafford House, as soon as she should be a little relieved of a heavy cold which seemed to oppress her at present. This, of course, will be decisive of her favor in London. The duchess is to let us know when the arrangement is completed.

"'I never so fully realized,' continues Mrs. Stowe, 'that there really is no natural prejudice against color in the human mind. Miss Greenfield is a dark mulattress, of a pleasing and gentle face, though by no means handsome. She is short and thick-set, with a chest of great amplitude, as one would think on hearing her tenor. I have never seen, in any of the persons to whom I have presented her, the least indications of suppressed surprise or disgust, any more than we should exhibit on the reception of a dark-complexioned Spaniard or Portuguese.

"'Miss Greenfield bears her success with much quietness and good sense.'

"Her Grace the Duchess of Sutherland afterward became her ever-unfailing supporter and adviser.

"The piano-forte which previously had been furnished Miss Greenfield to practise upon was taken from her. The Duchess of Sutherland, upon learning the fact, immediately directed her to select one from Broadwood's.

"We cannot refrain from quoting Mrs. Stowe's description of the concert after dinner at the Stafford House:--

"'The concert-room was the brilliant and picturesque hall I have before described to you. It looked more picture-like and dreamy than ever. The piano was on the flat stairway just below the broad central landing. It was a grand piano, standing end outward, and perfectly banked up among hot-house flowers, so that only its gilded top was visible. Sir George Smart presided. The choicest of the _elite_ were there,--ladies in demi-toilet and bonneted. Miss Greenfield stood among the singers on the staircase, and excited a pathetic murmur among the audience. She is not handsome, but looked very well. She has a pleasing dark face, wore a black velvet head-dress and white carnelian ear-rings, a black moire-antique silk made high in the neck, with white lace falling sleeves and white gloves. A certain gentleness of manner and self-possession, the result of the universal kindness shown her, sat well upon her. Chevalier Bunsen, the Prussian ambassador, sat by me. He looked at her with much interest. "Are the race often as good-looking?" he said. I said, "She is not handsome compared with many, though I confess she looks uncommonly well to-day." The singing was beautiful. Six of the most cultivated glee-singers of London sang, among other things, "Spring's Delights are now returning," and "Where the Bee sucks, there lurk I." The duchess said, "These glees are peculiarly English." Miss Greenfield's turn for singing now came, and there was profound attention. Her voice, with its keen, searching fire, its penetrating vibrant quality, its _timbre_ as the French have it, cut its way like a Damascus blade to the heart. She sang the ballad, "Old Folks at Home," giving one verse in the soprano, and another in the tenor voice. As she stood partially concealed by the piano, Chevalier Bunsen thought that the tenor part was performed by one of the gentlemen. He was perfectly astonished when he discovered that it was by her. This was rapturously encored. Between the parts, Sir George took her to the piano, and tried her voice by skips, striking notes here and there at random, without connection, from D in alto to A first space in bass clef. She followed with unerring precision, striking the sound nearly at the same instant his finger touched the key. This brought out a burst of applause.

"'Lord Shaftesbury was there. He came and spoke to us after the concert. Speaking of Miss Greenfield, he said, "I consider the use of these halls for the encouragement of an outcast race a consecration. This is the true use of wealth and splendor, when they are employed to raise up and encourage the despised and forgotten."'

"TUESDAY, May 31, 1853.

"Miss Greenfield's first public morning concert took place at the Queen's Concert Rooms, Hanover Square. She came out under the immediate patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, and the Earl and Countess of Shaftesbury. It commenced at three o'clock, and terminated at five."

"The London Morning Post" says,--

"A large assemblage of fashionable and distinguished personages assembled by invitation at Stafford House to hear and decide upon the merits of a phenomenon in the musical world,--Miss Elizabeth Greenfield, better known in America as the 'Black Swan;' under which sobriquet she is also about to be presented to the British public. This lady is said to possess a voice embracing the extraordinary compass of nearly three octaves; and her performances on this occasion elicited the unmistakable evidence of gratification."

"The London Times" said,--

"Miss Greenfield sings 'I know that my Redeemer liveth' with as much pathos, power, and effect as does the 'Swedish Nightingale,' Jenny Lind."

Again: "The London Observer" remarks,--

"Her voice was at once declared to be one of extraordinary compass. Both her high and low notes were heard with wonder by the assembled amateurs, and her ear was pronounced to be excellent."

"The London Advertiser" of June 16 contained the following comments:--

"A concert was given at Exeter Hall last evening by Miss Greenfield, the American vocalist, better known in this country under the sobriquet of the 'Black Swan.' Apart from the natural gifts with which this lady is endowed, the great musical skill which she has acquired, both as a singer and an instrumentalist, is a convincing argument against the assertion so often made, that the negro race is incapable of intellectual culture of a high standard.... Her voice is a contralto, of great clearness and mellow tone in the upper register, and full, resonant, and powerful in the lower, though slightly masculine in its _timbre_. It is peculiarly effective in ballad-songs of the pathetic cast, several of which Miss Greenfield sang last night in a very expressive manner. She was encored in two,--'The Cradle-Song,' a simple melody by Wallace, and 'Home, Sweet Home,' which she gave in an exceedingly pleasing manner. The programme of the concert was bountifully drawn up; for, in addition to the attractions of the 'Black Swan,' there was a host of first-rate artists. Herr Brandt, a German artist with a remarkably sweet voice, sang Professor Longfellow's 'Slave's Dream,' set to very beautiful music by Hatton, in a way that elicited warm applause. Miss Rosina Bentley played a fantasia by Lutz very brilliantly, and afterward, assisted by Miss Kate Loder (who, however, must now be known as Mrs. Henry Thompson), in a grand duet for two piano-fortes by Osborne. M. Valadares executed a curious Indian air, 'Hilli Milli Puniah,' on the violin; and Mr. Henry Distin a solo on the sax tuba. The band was admirable, and performed a couple of overtures in the best manner. Altogether, the concert, which we understand was made under the distinguished patronage of the Duchess of Sutherland, was highly successful, and went off to the perfect gratification of a numerous and fashionable audience."

* * * * *

"In July she gave two grand concerts in the Town Hall in Brighton, under the patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyle, the Most Noble the Marchioness of Ailesbury, the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, the Earl and Countess of Shaftesbury, the Earl of Carlisle, the Countess of Jersey, the Countess of Granville, the Countess of Wilton, the Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.

"_Vocalists._--Miss E.T. Greenfield (the 'Black Swan'), Madame Taccani, Countess Tasca, Mr. Emanuel Roberts (Queen's concerts).

"_Instrumentalists._--Piano-forte soloist, Miss Rosina Bently [Transcriber's Note: Bentley elsewhere] (pupil of Miss Kate Loder); violin, M. de Valadares (pupil of the Conservatoire, Paris); accompanist, Mons. Edouard Henri; conductor, Mr. F. Theseus Stevens.

"She gave a series of concerts at the Rotunda in Dublin, Ireland."

* * * * *

"Extract from programme of Miss Greenfield's benefit concert, Aug. 17, 1853:--

"_Vocalists._--Miss Louisa Pyne, Miss Pyne, and Mr. W. Harrison; pianist, Miss Rosina Bently; violinist, M. de Valadares from the East Indies; accompanist, Mr. R. Thomas."

* * * * *

"In October, 1853, we find her again at the Beaumont Institution, Beaumont Square, Mile End, London, at Mr. Cotton's concert, supported by Miss Poole, the Misses M'Alpine, Miss Alleyne, Mr. Augustus Braham, Mr. Suchet Champion, Mr. Charles Cotton, the German Glee Union, and the East-Indian violinist M. de Valadares; conductor, Herr Ganz."

* * * * *

"Nov. 3, 1853, at Albion Hall, Hammersmith, she made her appearance under the patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyll, the Most Noble the Marchioness of Aylesbury [Transcriber's Note: Ailesbury], the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, Earl and Countess of Shaftesbury, Earl of Carlisle, Countess of Jersey, Countess of Granville, Countess of Wilton, Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.

"_Artists._--Miss E.T. Greenfield, Miss J. Brougham, Miss E. Brougham, Mr. Charles Cotton, Mr. Augustus Braham the eminent tenor; piano-forte, Miss Eliza Ward."

* * * * *

"At the Theatre Royal, Lincoln, Dec. 23, 1853, under the same distinguished patronage as at Hammersmith.

"_Artists._--Mrs. Alexander Newton (of her Majesty's Grand National Concerts), Miss Ward, Miss E.T. Greenfield, Mr. Augustus Braham, Mr. Charles Cotton (from Milan), Mr. Distin."

* * * * *

"Again: to verify the fact of her having received the attention of very distinguished personages, the following certificates are laid before the reader:--

"'Sir George Smart has the pleasure to state that her Majesty Queen Victoria commanded Miss Greenfield to attend at Buckingham Palace on May the 10th, 1854, when she had the honor of singing several songs, which he accompanied on the piano-forte.

"'To Miss GREENFIELD, from Sir GEORGE SMART, Kt.,

"'Organist and Composer to her Majesty's Chapel Royal.

"'June 24, 1854. No. 91, GR. PORTLAND ST., LONDON.'

"'This is to certify that Miss Greenfield had the honor of singing before her Majesty the Queen at Buckingham Palace. By her Majesty's command,

"'C.B. PHIPPS.

"'BUCKINGHAM PALACE, July 22, 1854, LONDON.'"

* * * * *

"In May, 1854, she received an invitation through the Rev. Mr. Geary to sing at a concert, but declined, being advised not to sing at public concerts until her return to the United States. She therefore sang only at private parties until July, 1854, when that same noble benefactress, the Duchess of Sutherland, secured for her two places in 'The Indiana' steam-packet for New York.

"With a warm invitation to revisit England at some future period, she embarked at Southampton to return to America."

The trip to London and its attendant circumstances resulted in much benefit to Miss Greenfield in an intrinsic, artistic sense, adding decided _eclat_ to her professional reputation. "The New-York Herald," a journal which in those days was generally quite averse to bestowing even well-merited praise upon persons of her race, was, however, so much moved upon by her exhibition of an increased technical knowledge of the lyric art as to speak of Miss Greenfield as follows: "'The Swan' sings now in true artistic style, and the wonderful powers of her voice have been developed by good training." This was but echoing the general verdict.

During the years that intervened between Miss Greenfield's return from England and her death,--the latter event occurring at Philadelphia in the month of April, 1876,--she was engaged in singing occasionally at concerts, and in giving lessons in vocal music.

Remembering her own hard contests as she ascended the hill of fame, Miss Greenfield ever held out a helping hand to all whom she found struggling to obtain a knowledge of the noble art of music. Possessing, on account of her great vocal abilities, the high esteem of the general public, from a rare amiability of disposition enjoying the warm love of many friends in those private circles where she was always an ornament and a blessing, this wonderfully gifted lady at the age of sixty-eight years died, deeply mourned by all. Of her brilliant career, of her life, which, in many important respects, was so grandly useful, as well as of her peaceful death, nothing more need here be added, further than to place her name in the honorable list of those of whom Milton so eloquently says,--

"Nothing is here for tears; nothing to wail, Or knock the breast; no weakness, no contempt, Dispraise, or blame; _nothing but well and fair_, And what may quiet us in a death so noble."

VI.

THE "LUCA FAMILY,"

VOCALISTS AND INSTRUMENTALISTS.

"God sent his singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again....

But the great Master said, 'I see No best in kind, but in degree: I gave a various gift to each,-- To charm, to strengthen, and to teach.'"

_From_ LONGFELLOW'S _The Singers_.

While nearly all persons have to a greater or lesser degree musical sympathy and capability, or, to speak generally, capacity for the enjoyment or production, in one way or another, of harmony; and while, too, a goodly number there are who possess what may be called musical aptitude,--it is yet only once in a great while that we find those who are thus endowed in a degree which may be considered extraordinary. For the Muses, however often and earnestly invoked, are never lavish in the bestowment of their favors. This is especially true as applied to the goddess who presides over the art of music. Only here and there is some one selected to whom is given great musical inspiration; into whose keeping is placed the divine harp, which, when swept by his hands, the people shall hear entranced.

Occasionally we may observe in families one member who appears particularly favored by nature in the possession of rich and varied musical talents, the same being improved by careful cultivation. Such a one readily attracts attention: his native endowments and his extensive acquirements often form the theme of conversation, of warmest praise; while everywhere he is a most welcome guest. But, if in a family a single instance of this kind produces the effects just described, the latter can but be greatly enhanced when is found a family composed of a number of persons in no wise small, each one of which is a highly-talented and finely-educated musician. It is, however,--for the reasons already mentioned,--so rare a thing to see the musical faculty thus possessed, and its advantages thus fully embraced, by an entire household of nearest relatives, as to render the circumstance a cause of much surprise; while a family so greatly skilled in the most beautiful, the most charming, of all arts, easily attains to high distinction, its members becoming objects of such general private and public interest as to render their careers quite worthy of the best efforts of those who would make the same a matter of history.

The foregoing remarks, although made in a somewhat general way, may be particularly applied to that excellent troupe of artists, the "Luca family," a brief account of whose remarkable natural endowments, superior acquirements, and interesting musical life, is here appended.

The family, as at first professionally organized, consisted of six persons,--the father, mother, and four sons. Some changes that occurred afterwards will appear as the narrative progresses.

Alexander C. Luca, the father, whose history shows most pointedly how much may be accomplished by devoted study, deserves especial mention. He was born in Milford, Conn., in the year 1805. He is, in the most proper sense, a "self-made" man. Possessing but few opportunities for acquiring an education, he yet made the most of those he had, and is to-day a man of varied culture, an excellent example of the Christian gentleman. At the age of twenty-one years he apprenticed himself to a shoemaker, having previously spent his life upon a farm; and, while thus engaged, he showed a decided taste for music. In the shop where he worked were several boys who were learning the trade, and who were also members of the village singing-school. Going occasionally into their school, listening eagerly to all they sang and talked about both there and in the shop, he soon learned their songs, and was induced by the surprised teacher to join the school. In a short time, by the aid of a naturally musical ear and a good voice, and by diligent study of the rudiments, he became quite a proficient scholar; surpassing, in fact, most of the other pupils of the school.

After learning his trade he removed to New Haven, Conn., where after a while he was married to a lady of fine musical qualities (she being especially remarked as a singer), and who was also of a musical family. Soon after his arrival at New Haven, Mr. Luca, having acquired by this time quite a fine knowledge of music, and being an excellent vocalist, was chosen chorister of a Congregationalist church. In a short time his choir was considered the equal of any in the city; which was high but well-deserved praise. Some time previously to the formation of what was called professionally the "Luca family," the subject of this sketch organized a quartet consisting of Miss Dianah Lewis,[11] a sister of his wife, his two older sons, and himself, and gave in New Haven and vicinity a number of fine concerts. Mr. Luca trained all his children in music at an early age, and taught them to sing in his choir at the church.

[Footnote 11: She was a vocalist of rare powers, and was considered the equal of the celebrated Miss Greenfield, or, as the latter was frequently called, the "Black Swan."]

Mrs. Luca heartily sympathized with, and aided her husband in, the musical and general culture of the family. One of the sons thus speaks of her: "Our earlier taste for music was especially encouraged by our mother, who thought that the study of it would claim us from the bad influences which idle hours and mischievous associations engendered."

With such parents it is not strange that the Luca children became so worthy and eminent as exponents of the art of music.

John W. Luca, the oldest son, when quite young, was remarkable, mostly, as a comic singer. He sang frequently at school exhibitions, and often created much sensation in singing a temperance song called "The Old Toper."

Alexander C., jun., who in after-years became so noticeable as a tenor-singer and violinist, was at first the dullest of the boys.

Simeon G. possessed a tenor voice of extraordinary compass, singing high C with the greatest ease. He sang the choicest music from the various operas to astonished and delighted audiences. He was also a solo violinist of rare powers; often thrilling his audiences by the smooth, sweet, and expressive strains evolved from his instrument.