Chapter XII: Anna Madah and Emma Louise Hyers,

VOCALISTS AND PIANISTS.

THE "HYERS SISTERS."--AN ACROSTIC.

"Hail, tuneful sisters of a Southern clime!
Your dulcet notes inspire my rhyme:
Each in your voice perfection seem,--
Rare, rich, melodious. We might deem
Some angel wandered from its sphere,
So sweet your notes strike on the ear.
In song or ballad, still we find
Some beauties new to charm the mind.
Trill on, sweet sisters from a golden shore;
Emma and Anna, sing for us once more;
Raise high your voices blending in accord:
So shall your fame be widely spread abroad."

M.E.H., _in Boston Daily News_.

One day, two little girls, the one aged seven and the other nine years, came gayly, gleefully tripping into the room where their parents sat quietly conversing, and soon began to sing some of the songs and to enact some of the scenes from operas, performances of which they had occasionally witnessed at the theatre. This they did, of course, in childlike, playful manner, yet not without a showing, considering their ages, of a surprising degree of correctness.

Their parents at first, however, only laughed at what they considered the gleesome antics of these embryo personators in opera. But, the little girls continuing in the presence of their relatives and playmates their performances, it was ere long discovered that they possessed no small degree of lyrical talent; that their voices, considering their tender years, were remarkably full and resonant; and that they exhibited much fondness for music, and a spirit of great earnestness in all they undertook.

With these manifestations their parents were of course highly pleased; and they at once resolved to give their children such instruction in the rudiments of music as lay within their power.

Thus, then, did those two gifted little girls, Anna Madah and Emma Louise Hyers, early show their devotion to art, and make that beginning, which, in a few years afterward, was to grow into a musical proficiency and a public success in the highest degree creditable to them.

After one year's instruction, it was found that the girls had advanced so rapidly as to have quite "caught up" with their teachers (their parents); and it was therefore found necessary to place them under the instruction of others more advanced in music. Professor Hugo Sank, a German of fine musical ability, became then their next tutor, giving them lessons in vocalization and on the piano-forte. With this gentleman they made much progress. Another change, however, being decided upon, our apt and ambitious pupils were next placed under the direction of Madame Josephine D'Ormy,--a lady of fine talents, an operatic celebrity, and distinguished as a skilful teacher. From this lady the sisters received thorough instruction in the Italian, and were taught some of the rudiments of the German language. It is, in fact, to the rare accomplishments and painstaking efforts of Madame D'Ormy that the Misses Hyers owe mostly their success of to-day. For she it was who taught them that purity of enunciation, and sweetness of intonation, that now are so noticeable in their singing of Italian and other music; while under her guidance, also, they acquired that graceful, winning stage appearance for which they have so often been praised.

Although, as was natural, quite proud of the rich natural gifts possessed by their children, and extremely delighted with the large degree of their acquirements in the art of music, their sensible parents were in no haste to rush them before the public; and it was therefore nearly two years after leaving the immediate musical tutelage of Madame D'Ormy when these young ladies made their _début_. This they did before an audience of eight hundred people at the Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this occasion, and on others afterwards in San Francisco and other places in California, their efforts were rewarded with grand success: the musical critics and the press awarded them unstinted praise, and even pronounced them "wonderful." As a sample of all these comments, I here append the following from "The San Francisco Chronicle:"--

"Their musical power is acknowledged; and those who heard
them last evening were unanimous in their praises, saying
that rare natural gifts would insure for them a leading
position among the prime donne of the age.

"Miss Madah has a pure, sweet soprano voice, very true,
even, and flexible, of remarkable compass and smoothness.
Her rendition of 'Casta Diva,' and her soprano in the tower
scene from 'Il Trovatore,' and Verdi's 'Forse e' lui che
l'anima,' [Transcriber's Note: 'Ah, fors'è lui che l'anima']
as also in the ballad, 'The Rhine Maidens,' was almost
faultless, and thoroughly established her claims to the
universal commendation she has received from all the
connoisseurs in melody who have heard her.

"Miss Louise is a natural wonder, being a fine alto-singer,
and also the possessor of a pure tenor-voice. Her tenor is
of wonderful range; and, in listening to her singing, it is
difficult to believe that one is not hearing a talented
young man instead of the voice of a young girl. Her
character song was one of the greatest 'hits' ever made; and
henceforth her position as a favorite with an audience is
assured."

After these concerts they retired to severe study, preparatory to making a tour of the States. Finally, deciding to proceed towards the East, they sang to highly-appreciative and enthusiastic audiences in several of the Western towns and cities. At Salt-Lake City they were received with the very highest marks of favor. On the 12th of August, 1871, they gave a grand concert in Salt-Lake Theatre, offering some five operatic selections. At this concert, and for some time afterwards, the ladies were assisted by Mr. Le Count, a baritone singer of excellence. I append the following scientific analysis of the music used, and the manner of its rendition on the occasion just mentioned. It is from the pen of Professor John Tullidge, and is copied from "The Deseret News:"--

REMARKS ON THE HYERS SISTERS' CONCERT ON SATURDAY, AUG. 12,
1871.

BY PROFESSOR JOHN TULLIDGE.

"A portion of two scenes from the first and second acts of
Donizetti's opera of 'Linda di Chamounix' occupied the whole
of the first part of the concert.

"The first act opened with a _recitativo e cavatina_,
selected from No. 4, on the words, 'Ah, tardai troppo e al
nostro favorito.'

"The _recitativo_ is in A flat major. But there are no flats
or sharps in the signature: these are placed before the
notes as required. When the transitions are rapid,--as they
are in this piece,--it renders the reading very difficult in
securing correct intonation. But notwithstanding these
frequent changes, and intricate skipping intervals, Miss
Anna accomplished the difficulty with ease, and perfectly in
tune. The rapid cadence on the dominant was artistically
rendered.

"The aria follows with an allegretto in three-four time, and
the execution in this division is very rapid; but the
vocalist was equal to the task, and performed it with ease
and grace. But the most astonishing feat was the cadenza in
the cavatina: the singer, instead of closing on D
flat,--fourth line of staff,--took an improvising flight,
catching in that flight an appoggiatura grace on the note E
flat above the lines; and closed with the D flat, a note
below on the pause.

"This was a dangerous flight for one so young: nevertheless,
the note intoned was clear, distinct, and bell-like.

"Miss Emma sang the alto in the 'Caro Ballato' with Miss
Anna, in a duetto on the words, 'Qui si pria della
partenza.' The alto takes the notes a sixth below the
soprano, and her deep mellow voice produced a fine effect.
The next is a _recitativo_ by soprano and alto. In this
division the intervalic skippings are difficult; but they
were correctly interpreted. The alto then takes up a
larghetto in six-eight time, key D minor. This portion
required much _con dolore_ expression, which was delivered
with much tremolo effect by Miss Emma; and her rich, pure
contralto voice in the low register told well. The scene
finished with a duet by the two sisters, who were warmly and
deservedly applauded.

"The scene in act second contained much of the same forms of
execution as the first, with the exception of a brilliant
duetto in D major, which reminded me of that beautiful
florid piece, 'Quest est homo,' from Rossini's 'Stabat
Mater.'

"This duet not only requires fine voices, but rapid
execution also, or the rendition would be imperfect; but the
sisters gave a charming interpretation to the piece.

"Part third commenced with the 'Magic-wove Scarf,' from
Barnett's opera of 'The Mountain Sylph.' Barnett is a fine
composer, and was theoretically educated in Germany; and, on
his return, he composed the above opera. The musicians in
England were much surprised when this clever author left the
field of composition, after he had received such popularity
from his opera of 'The Mountain Sylph;' but the author was
obstinate, and I believe he was offended with some remarks
of the critics.

"The scene of the scarf is laid in Scotland. The mountain
sylph is a fairy, and falls in love with the tenor, a young
Scotchman. The baritone is a Scotch necromancer. The young
lover, fearful of losing his fairy love, appeals to this
demon for aid; and he, wishing to destroy the power of the
fairy, gives the young man the 'Magic-wove Scarf' to throw
around her. He told him that the scarf would secure her. He
was enticed, and threw the scarf around; but, the moment it
touched her, she became spell-bound, and is supposed to die,
but is released by a fairy of superior power.

"The trio opens with a fine baritone solo; and, considering
Mr. Hyers is not a professional singer, the part was
creditably rendered.

"The tenor, Miss Emma, conveyed the author's meaning truly;
and her imitation of that voice took her to the F sharp
below the staff. This note was intoned with perfect ease.

"In Miss Anna's part there are some beautiful rouladial
passages, which were delivered by the young lady smoothly
and distinctly; and, when she became spell-bound by the
scarf, her _espressivo_ and _energico_ were fine.

"The trio throughout was creditably performed, and was
loudly applauded by the audience.

"'Brighter than stars soft gleaming,' from the opera 'Il
Trovatore,' is a fine composition abounding in _espressivo_
and _bravura_ passages: the compass is also extensive,
requiring great range for a baritone voice. The piece was
rendered with credit by the young vocalist Le Count.

"A very choice selection from Donizetti's opera of 'Lucia di
Lammermoor' followed, and was sung by Miss Anna Hyers. The
first line of the English words is, 'See, 'tis the hour: how
sinks the sun!' The whole of this movement is in the
_affetturoso con amoroso_ [Transcriber's Note: affettuoso
e amoroso] style; and in order to render such a theme
effective, as love without hope, but still hoping, the
singer must throw a vast amount of pathos into the subject
to secure a fine interpretation; which rendition by the
artist was all that could be required. The second movement
is in D major. The words of the principal line are, 'Grow
dark, yes, love's pure flame grow dark, like earthly fire.'

"The author has interpreted these words with rapid sextoles
(groups of six notes) and triplets in difficult intervalic
skips, and finishing with an intricate florid cadenza in
seconds and thirds. Many passages of the same form may be
found in Handel's 'Messiah.' The young lady not only glided
over these difficulties with ease and grace, but also
brought out the _espressivo_ so necessary for the effective
rendition of this division. The remaining portions of this
fine composition are much varied with rapid executions; and
the compass of voice required for effect is extensive,
ranging from C above the staff to C below. Every point was
delivered by the young vocalist with purity and force.

"I believe this young lady's compass of voice is from E flat
above the lines to A below; having at her command the
soprano register, the mezzo-soprano, and a portion of the
alto.

"Both of the sisters sing in the Italian with fluency and
with correct pronunciation.

"'Par Excellence,' sung by Miss Emma, was a complete triumph
with the audience, and received a triple call. This was a
great compliment after Lingard, the original. But it was the
lady's pleasing manner that took the comic-loving patrons by
storm: hence the third encore."

After the performance described by Professor Tullidge, the Misses Hyers were tendered by the leading citizens of Salt-Lake City a complimentary benefit. The following correspondence, taken from "The Deseret News," explains itself:--

SALT-LAKE CITY, Aug. 14, 1871.

TO THE HYERS SISTERS,--We the undersigned, residents of
Salt-Lake City, having witnessed your performances during
your recent engagement at the theatre, and being willing to
acknowledge talent wherever found, as a slight testimonial
of our esteem tender you our influence and assistance in
making a remunerative benefit, to take place at the
Salt-Lake Theatre at such time as may suit your convenience.

JOS. R. WALKER.
A.W. WHITE.
WELLS, FARGO, & CO.
(Per C.F. SMITH.)
JNO. CUNNINGTON.
J.B. MEADER.
M.H. WALKER.
A.M. MORTIMER.
JNO. MANN.
S.A. MANN.
A. BENZON.
D. CANDLAND.
J.C. LITTLE.
TILDEN & LAWRENCE.
B.G. RAYBOULD.
JAS. SMITH.
N.S. GOULD & SON.
SEIGEL BROTHERS.
TAYLOR & CUTLER.
H.O. PRATT.
HOOPER, ELDREDGE, & CO.
WILLIAM M. JOHNS.
ROBERT K. REED.
CALDER BROTHERS.
PROFESSOR THOMAS.
JOS. J. DAYNES.
HUGH W. McKEE.
R. ROSS.
THOMAS FITCH.
JNO. T. CAINE.
W.F. ANDERSON.
MARK CROXALL.
J.F. HAMILTON.
CAPT. SHAW.
G.W. LEIHY.
F.T. WISWELL.
TEASDEL & CO.
H.S. BEATTIE.
JNO. L. BURNS.

To this the following reply was returned:--

SALT-LAKE HOUSE, Aug. 15, 1871.

Messrs. WALKER, TILDEN, A.W. WHITE & CO., HOOPER, ELDRIDGE,
& CO., AND OTHERS.

_Gentlemen_,--Your esteemed favor is before us; and,
gratefully accepting your high compliment to our humble
endeavors, we respectfully name Thursday, Aug. 17, as the
time of the proposed benefit at the Salt-Lake Theatre.

Respectfully,

HYERS SISTERS.

While in St. Joseph, Mo., they elicited from "The Daily Herald" of that city the following encomium:--

"Whoever of our readers failed to visit the Academy of Music
last evening missed a rare musical treat. The concert of the
Hyers sisters was absolutely the best, furnished those in
attendance with the choicest music, which has been in St.
Joseph since we have resided here.

"The Hyers sisters are two colored ladies, or girls, aged
respectively sixteen and seventeen years; but their singing
is as mature and perfect as any we have ever listened to. We
had read the most favorable reports of these sisters in the
California papers, but confess that we were not prepared for
such an exhibition of vocal powers as they gave us last
night.

"Miss Anna Hyers, the eldest, is a musical phenomenon. When
we tell musicians that she sings E flat above the staff as
loud and clear as an organ, they will understand us when we
say she is a prodigy. Jenny Lind was the recipient of
world-wide fame and the most lavishly-bestowed encomiums
from the most musical critics in the Old and New World
simply because she sang that note in Vienna twenty years
ago. Parepa Rosa, it is claimed, reached that vocal altitude
last summer. But the sopranos who did it flit across this
planet like angels. Several competent musicians listened to
Anna Hyers last evening, and unanimously pronounced her
perfectly wonderful. With the greatest ease in the world, as
naturally and gracefully as she breathes, she runs the scale
from the low notes in the middle register to the highest
notes ever reached by mortal singers. Her trills are as
sweet and bird-like as those with which the 'Swedish
Nightingale' once entranced the world. In Verdi's famous
'Traviata' there was not a note or modulation wrong: her
rendition was faultless, her voice the most sweet and
musical we ever listened to.

"In the duet, 'There's a sigh in the heart,' her voice was
exhibited in wonderful range; and, in the tower-scene from
'Il Trovatore,' its great power was singularly and very
agreeably apparent.

"We do not remember to have been more completely and
agreeably surprised than we were last evening in the
matchless excellence of the singing of the Hyers sisters.
They deserve a crowded house; and we predict that in Boston
or New York, by the most severe critics, they will be
pronounced musical prodigies."

In Chicago their success was none the less flattering. In this, styled by many the "Queen City of the West," the remarkable musical powers of these young ladies created intense excitement, especially among people of the highest musical culture. The extraordinarily high range of the voice of Anna Hyers quite astonished every one who heard her, and evoked the warmest praise of the critics. For the purpose of assuring those who had not heard her sing, or who, although present, failed to exactly locate in the scale her greatest altitude, as well as to more pointedly mark this rare achievement in vocalism, a number of the best musicians of Chicago published a card in "The Tribune," in which they declared that "Miss Anna Hyers sang at the concert last night the second G above the staff,--a note touched by no other singer since Jenny Lind."

Still proceeding towards the East, they next appeared in Cleveland, O., where their delightful vocal powers were thus alluded to by "The Daily Leader:"--

"On Saturday evening last, we had the pleasure of listening
to the Hyers sisters, who have, since their appearance in
public, been the recipients of the most flattering
testimonials; and are warranted in saying, not without the
best claim to them, the exhibition they gave of their
ability was most satisfactory. The soprano (Miss Anna) has
an exceptionally pure, sweet voice, with ample power for all
the demands of the concert-room. Her execution was
admirable. The contralto (Miss Emma) possesses a voice of
remarkable quality; and we do not hesitate to say that a
richer or more evenly-conditioned contralto voice is rarely
heard. Her execution was all that could be desired."

Encouraged by the marked success which had thus far crowned their efforts, their father, with whom and under whose direction the Misses Hyers had travelled since leaving California, now determined to enlarge his troupe. This he did by engaging the services of Mr. Wallace King of Camden, N.J., a gifted and accomplished tenor-singer; Mr. John Luca, widely and favorably known from his connection formerly with the celebrated "Luca family," and who sang baritone; while as accompanist he engaged the fine pianist, Mr. A.C. Taylor of New York.

An intelligent idea of the composition of Mr. Hyers's troupe can be formed by a perusal of the following, which was the preface given to the programme of his concerts:--

THE GREATEST MUSICAL PHENOMENA OF THE AGE!

THE FAMOUS CALIFORNIA VOCALISTS,

THE

HYERS SISTERS!

(COLORED.)

MISS ANNA MADAH HYERS _Soprano_ AND MISS EMMA LOUISE HYERS _Contralto and Tenore_ ASSISTED BY MR. WALLACE KING _Tenor_ AND MR. JOHN LUCA _Baritone_

AND THE GIFTED PIANIST,

A.C. TAYLOR.

These young ladies (as will be seen from criticisms annexed) have created a great sensation wherever they have appeared; and, it being the intention of their father (who accompanies them) to take them to Europe to perfect them in their art, he has been induced, at the request of numerous friends, to make a tour through the principal cities of America, to afford the musical public and those anxious to hear these truly wonderful artists of the colored race an opportunity of hearing them, and judging for themselves. The music they sing is always of the highest order, and their selections are from the most difficult and classical pieces that have been sung by the most accomplished artists.

MR. WALLACE KING (tenor) possesses a fine voice of splendid quality and great compass, which he uses with marked skill, and is especially adapted to music of dramatic character.

MR. JOHN LUCA (baritone) is also the possessor of a splendid voice, and sings in admirable style, both in songs and concerted music.

MR. A.C. TAYLOR (pianist and accompanist). This gifted artist, besides being an excellent accompanist, is also a solo-player of great promise. He has had the honor of playing before the most critical audiences of New York and Boston; and it is predicted by our leading musicians he will rank with the first pianists of the day.]

As will be seen by the comments drawn from the press, which have been already and which will be hereafter given, Mr. Hyers's statements of the artistic merits of his company were by no means exaggerated.

Their performances in the city of New York and in other parts of the State drew large, cultivated, and enthusiastic audiences, and were, to use the words of one writer, considered "a revelation."

Thus spoke "The New-York Evening Post:"--

"The Hyers sisters are colored, and, to the musical
instincts of their race, have added careful musical
training. Miss Anna Hyers possesses a flexible voice of
great compass, clear and steady in the higher notes. Miss
Emma, the contralto, has a voice of great power and depth;
qualities which, in impassioned strains, give it a richness
not often heard in chamber concerts.

"The gem of the evening was the 'Miserere' scene from 'Il
Trovatore,' which was skilfully rendered by the sisters,
Miss Emma singing the tenor part with very fine effect.

"A duet by Millard, sung by Miss Anna and Mr. J. Luca, was
also remarkably well rendered; Miss Anna displaying the
admirable qualities of her voice and her careful training to
the greatest advantage.

"The audience was enthusiastic, and the encores were
frequent."

Said "The New-York Tribune,"--

"A concert was given last evening by the Hyers sisters at
Steinway Hall. These are two young colored girls who have
received a musical training in California, and who are by no
means mere 'Jubilee' singers, as the programme of last
evening clearly shows. It embraced several airs and duets
from 'Martha' and 'Trovatore;' the last being the
'Miserere,' which called forth hearty applause."

"The Evening Telegram" alluded to them in the following complimentary terms:--

... "The selections last evening embraced a high order of
music, operatic and otherwise; and were rendered with a
taste and grace that elicited frequent applause.

"One of the young girls possesses a very pure soprano, the
other an equally excellent contralto voice; and, singly or
together, their execution is marked by a refinement,
culture, and attractiveness that deserve first-class
audiences and first-class appreciation."

So great was the success of the talented troupe in the metropolis, that when they visited Brooklyn they were already fully advertised, and a general and very eager desire was manifested in that city to witness their performances. So great was this desire, that, said "The Brooklyn Daily Union,"

"Not only was every inch of standing-room in the Young Men's
Christian Association Hall occupied, but the ante-room and
even the stairway were completely jammed. In spite, however,
of the uncomfortable crowding, every one was pleased to be
present, and all were delighted with the concert.

"The young ladies are gifted with remarkable voices, and
sing together with perfect harmony; displaying the full
compass and beauty of their voices, which are clear and
sweet.

"Mr. Wallace King's rendering of Tennyson's beautiful song,
'Come into the garden, Maud,' was really exquisite, and was
followed by a vociferous encore. The concert was one of the
finest of the series."

But notwithstanding the many critical tests to which these young ladies had been subjected all along from California to New York, and despite the fact that their journey had thus far been marked by a continual series of triumphs,--the thick walls of color-prejudice everywhere yielding before the force of their rare musical abilities, their almost marvellous sweetness of song,--they now approached with feelings somewhat akin to dread the "modern Athens," that acknowledged centre of musical and general æsthetic culture, Boston, whose critical audiences ever receive coldly, at first, all newcomers, and who, guided by their own judgments, and having their own standard of merit, never yield praise because it has been accorded in other sections.

The Misses Hyers, although fully recognizing all this, were not to be daunted by it; and they therefore chose an ambitious, but what proved to be a wise course: they at first appeared at Tremont Temple before a select circle of musical connoisseurs. At this test performance, Mr. Eben Tourjée, Mr. P.S. Gilmore, and others of the highest musical ability in Boston, were, by invitation, present. Before the Misses Hyers began to sing, Mr. Tourjée said that they would be judged by the same standards as would be Nilsson or Kellogg. Mr. Hyers, speaking for his daughters, readily assented to this: and the sequel proved that his confidence was well founded; for all became satisfied, after hearing them sing, that these young ladies had not been too highly praised by the press of other cities. Said Mr. Gilmore, "These ladies promise much that is great."

But the following, taken from one of the Boston papers appearing the day after the performance just referred to, best describes the effect of the same on those present:--

"We were invited with some fifty other persons this forenoon
to hear the singing of two colored young ladies, named Anna
and Emma Hyers, of San Francisco, at the Meionaon. They are
aged respectively sixteen and fourteen years, and, after a
casual inspection, may be called musical prodigies. They
are, without doubt, destined to occupy a high position in
the musical world.

"Anna sings not only alto, but tenor, and both with great
excellence. They sang 'Ah forsetui' [Transcriber's Note:
'Ah, fors'è lui'] from 'Traviata,' 'M'appari' from
'Martha,' and the 'Miserere' from 'Trovatore,' each with
remarkable clearness and accuracy, and surprised all with
the general skill they displayed. Anna has also the faculty
of reaching E flat above the staff. Judging from present
data, they are on a par vocally with our better
concert-singers; and a further hearing may place them in
rank with more pretentious vocalists."

Having at this _musicale_ satisfied the critics, they were spoken of in words of warmest praise by the public press; and their subsequent performances in Boston created, after all, the same enthusiasm as that awakened in the West and in New York. I copy from "The Boston Journal" the following:--

"The young California singers, Miss Anna and Emma Hyers,
gave their last concert at Tremont Temple last evening. The
audience was both large and enthusiastic; and a duet from 'I
Masnadieri,' 'Home, Sweet Home,' by Miss Anna, a duet from
'La Traviata,' a cavatina from 'Lucia di Lammermoor,' and
'The Last Rose of Summer,' also by Miss Anna, appeared to
give great satisfaction. The young ladies have made a very
marked impression in their concerts here.... Mr. Wallace
King has a pure, sweet tenor voice of remarkable compass,
and sings with excellent taste."

In Boston they made many warm personal friends, receiving from many of its most cultured people very flattering attentions; and here, too, were pointed out to them, in a candid and friendly spirit, such slight defects in their voices, or manner of singing, as only those skilled in the highest _technique_ of the musical art could detect. All such suggestions were readily received by the young ladies, who, acting upon the same, made much advancement in the technical requirements of the lyrical art. They lingered long in Boston, being loath to leave its congenial art-circles, and to leave behind its many facilities for improvement in their profession.

Finally deciding to start again on their travels, they visited many of the towns and cities of Massachusetts, and sang also in the principal cities of Rhode Island and Connecticut. Their singing everywhere gave the utmost satisfaction; and cultivated New England confirmed, in words of highest praise, the verdict of the West and of New York.

A writer in "The Springfield (Mass.) Republican" thus spoke of the troupe:--

"One of the largest, and certainly one of the best pleased
audiences of the whole season, attended the concert of the
Hyers sisters at the Opera House last evening. The voice of
the soprano, Miss Anna Hyers, is beautifully pure and liquid
in its higher range; and she sings notes far above the staff
with the utmost ease, where most sopranos gasp and shriek.
So easily, indeed, does she sing them, that few persons are
aware of the dizzy vocal heights which she scales. Mr. King
possesses that great rarity, a _real_ tenor voice, pure and
sweet, and of great compass. But the charm of the concert
consisted not so much in individual excellence as in the
combination of the voices in some wonderfully fine four-part
singing. Nothing in this line so exquisite as the 'Greeting
to Spring' (Strauss' 'Beautiful Blue Danube' waltz
vocalized) has been heard in Springfield for many a year.
The voices were as one; the shading was perfect; the
modulations were absolutely pure and true; melody and
harmony were alike beautiful."

At Worcester, Mass., the performances of the company created a decided excitement in musical circles and among the people generally. "The Daily Press" of that city referred to the performance of the troupe in the following complimentary manner:--

"A larger audience than that of last Saturday evening
greeted the Hyers sisters at Mechanics' Hall last evening.
The programme was a new one, with the exception of the
'Greeting to Spring,' which was repeated by request, and was
enthusiastically received. The 'Excelsior' of Messrs. King
and Luca, the 'Cavatina Linda' of Miss Anna Hyers, the
'Sleep Well' of Mr. King, and the 'Non e'ver' [Transcriber's
Note: 'Non è ver'] of Miss Emma Hyers, were encored, as well
as nearly all the quartets. The quartet-singing was
unaccompanied, and was the finest that has been heard in
this city for years. The voices blended beautifully, and
were full of expression. Nor can too high praise be bestowed
upon the soprano and tenor. They showed great cultivation,
and a quality of voice rarely equalled."

While they were in Connecticut, "The Daily Union" of New Haven remarked,--

"New Haven has but rarely heard such extraordinary artists,
or reaped so much benefit as from their concerts."

And "The Providence (R.I.) Journal" said,--

"Seldom in the history of our pleasure-seeking has it been
our good fortune to enjoy an hour of such exquisite pleasure
as we were blessed with on the occasion of our attending a
concert given here, a short time since, by the Hyers
sisters."

Our talented artists had now acquired throughout New England a fame so fair, that Mr. P.S. Gilmore felt warranted in inviting them to appear at the great Peace Jubilee concerts; and here, before an audience of fifty thousand people, and in the company of several of the great solo-vocalists of the world, surrounded by a chorus of twenty thousand voices and an orchestra of one thousand performers, these gifted girls occupied a proud position, reflecting upon themselves and all with whom they were identified additional honors.

During the winter of 1875, the Hyers troupe several times appeared (on Sunday evenings) on the Boston-Theatre stage in sacred concerts, supported by a select orchestra of forty performers, all under the management and conductorship of that fine musician and prince of gentlemen, Mr. Napier Lothian, leader of the Boston-Theatre orchestra. At these concerts the music rendered was mostly classical; although the programmes contained also numbers of a popular character,--such as were suited to the tastes of the large, miscellaneous audiences in attendance,--which showed to the highest advantage the versatility of talent and extensive musical resources of the troupe. The writer recalls with much pleasure the delightful emotions which, on one of the evenings alluded to, were awakened in his breast by the very graceful stage appearance and the divine harmony produced by these accomplished musicians; for when not thrilled alone by their music, so faultlessly, so sweetly rendered, he could not repress the thoughts that came forcibly into his mind, of not only how much these noble artists were doing for the cause of pure music, but for that other righteous one,--the breaking-down of a terribly cruel prejudice, founded on the accident, so to speak, of the color of the face.

The concerts just alluded to, it is needless to say, brought out the warmest praises of the Boston journals. It is unnecessary, after the numerous comments, so highly eulogistic, already given, to quote what would only be a repetition of the same.

The Misses Hyers have, since the events heretofore mentioned, visited most of the cities and towns of the State of Maine. In that State they are great favorites, and sing always to large and delighted audiences. "In Lewiston," says "The Folio," "they received at a concert thirteen encores; and at Auburn a full house was gotten out on a half-day's notice."

It would be pleasant to follow the Misses Hyers into that other walk of art, the drama, which they have of late been pursuing so successfully, were such a course within the province of this book; but, as it is not, we will only briefly state, in concluding this sketch, that they have lately, with an enlarged company, been acting in a drama called "Out of Bondage," written expressly for them by Mr. Joseph B. Bradford of Boston. The drama is in four acts; comprehends four phases in the life of a freedman, beginning in slavery, and continuing through to his attainment of education and refinement; and is full of interesting incidents. Their success in this new field has already, in the smaller places in New England, been great; and it is the intention of the troupe to produce the drama ere long on the Boston stage, and in other of the large cities.

Mr. Hyers still holds to a resolve to take his talented daughters to Europe, in order to there perfect them in the higher requirements of their art, and to fit them for the operatic stage.

It is to be hoped that he will not relinquish this ambitious and creditable resolve; for certainly his gifted children have already clearly shown such rare musical powers, and, incidentally, so much of dramatic talent, and have had so much stage experience, as to fully warrant him and all their friends in firmly believing that these versatile young ladies may, after a short course of training under the best masters of Europe, easily attain to the highest distinction on the operatic stage.