Chapter XIV: Nellie E. Brown,

THE FAVORITE NEW-HAMPSHIRE VOCALIST.

"The melody of every grace
And music of her face."

LOVELACE.

"And thence flows all that charms or ear or sight;
All melodies the echoes of that voice."

COLERIDGE.

All musical tones please the ear, and affect to a greater or lesser degree the finer senses; for as beautifully and expressively sings Cowper, explaining this sensibility,--

"There is in souls a sympathy with sounds:...
Some chord in unison with what we hear
Is touched within us, and the heart replies."

The musical instrument, of itself lying cold and inanimate, may become, when touched by the hand of genius, seemingly a thing of life as the performer evolves from its board tones of melody so thrillingly sweet, so soulful, as to awaken in the listener's breast the holiest emotions. Even stout-hearted men have shed the tear of feeling when listening to the tenderly touching strains of the voiceful violin; while the musical moanings of the violoncello have caused them to experience feelings of a tender sadness.

I saw this exemplified, when, a short while ago, I listened with rapt attention to the marvellously sweet singing of the violin of that rare virtuoso, Ole Bull. The performer appeared like one inspired; and his noble instrument seemed sentient as under his magnetic hand its pure, melodic, and at times human-like voice, so replete with poetic, soulful expression, gave out tones of most exquisite beauty and grandeur, while every heart of his vast, enraptured audience throbbed in unison.

Still it is only once in a great while that one may witness the production of effects like those just described: and I think, that although the lines of Cowper, previously quoted, may refer to the effect of musical sounds in general, they yet are more particularly expressive of the impressions produced upon the ear and the heart by the melodious echoings of a _human voice_ when heard in song; for then a real, a living soul, with aid of music's charm, breathes to soul its joys, its pathos, its inmost longings,--touching indeed the unseen,

"The electric chain wherewith we are darkly bound,"

while heart responds to heart.

Besides, we know that man, in his rudest, as well as in his most highly-civilized state, readily pays tribute to the power and beauty of song. In this form of musical expression the singer conveys to the listener's ear not only melodies that the latter naturally delights to hear, but utters also the words of sentiment, of instruction, that appeal to his mind, and touch his heart; thus doubly enchaining his interest, and enhancing his pleasure. Moreover, to the mere charm of resonant vocalization is added the one afforded by a warm, a living presence; the speaking eyes (so aptly called the "windows of the soul"), with their glowing, magnetic expression, and the effective gesture, forming together pleasure-giving elements that must ever be wanting in other forms of musical presentation.

And so easily are our musical sensibilities awakened, and so readily are we influenced by song-power, that these effects may be exerted upon us, to a very considerable extent, even by the singer of ordinary abilities. But by a beautiful cantatrice, gifted with a pure, resonant, sympathetic voice, its natural sweetness and power supplemented by careful artistic cultivation, possessing a pleasing, unaffected manner of appearance and expression, all these effects may be amplified, intensified. Such a one may often, nay, at will, call into life our most delightful emotions, and evoke the warmest admiration of those who see and hear her. Her sway is over all, and is absolute; the natural music of her voice merely serving as sufficient charm for those not highly cultured, while the embellishments of art which she so intelligently uses in her performance add to the pleasure of, as they satisfy, the æsthetic conceptions, the love of full, harmonious development, held by persons of the most critical tastes.

As prominent among those lyric artists of New England whose fine natural musical powers and many winning accomplishments have formed the theme of frequent praise, as they have been the source of constant delight for many persons in private circles and public audiences, I may confidently mention Nellie E. Brown of Dover, N.H.,--a lady who within a very few years has, by the great beauty of her voice, and the exhibition of many noble qualities of heart and mind, won a name of which she and all her many admiring friends may be justly proud.

At quite an early age Miss Brown evinced a fondness for music, the slightest sounds of which readily attracted her attention; and, long before she had acquired a knowledge of its rudiments, the natural sweetness of her voice, as she was heard merely humming a tune, often arrested the attention and called out the praises of those who heard her. Thus musically endowed, of an amiable disposition, with spirits ever as free as the mountain winds of her native State, she became the favorite of her school companions, and their leader.

A few years ago, while attending a private school in Dover, Miss Caroline Bracket, a teacher in the same, noticing that Miss Brown possessed a naturally superior voice, earnestly advised its fullest cultivation. This lady became her first music-teacher. Diligently pursuing her studies, she made rapid progress. Being induced to take part in occasional school and other concerts, our subject soon became quite prominent in Dover as a vocalist, and was engaged in 1865 to sing in the choir of the Free-will Baptist church of that city. Here she remained until November, 1872; at which time, having learned of Miss Brown's fine vocal powers, the members of Grace Church, Haverhill, Mass, earnestly invited her to become the leading soprano in their choir, offering her a liberal salary, besides the payment of her travelling-expenses twice each week between Dover and Haverhill. This very complimentary invitation she accepted; and for four years her fine singing and engaging manners rendered her deservedly popular with the members and attendants of the church mentioned,--people of fine Christian and general culture,--as well as of the citizens of Haverhill generally, before whom, in the public halls, she sang on several occasions.

She remained in Haverhill until November, 1876; when, on the completion of the new Methodist-Episcopal church at Dover,--the largest and finest church in the city,--she was induced to become a member of its choir. Not, however, until after a severe struggle did the Grace-church people relinquish their claims to the accomplished vocalist. They say that they will yet have her back with them. At present, Miss Brown is directress of the choir in Dover which I have just mentioned.

I have thus given a rapid sketch of our subject's career as a choir-singer; a career which, it is seen, has been a most gratifying one. But her musical achievements have not been made alone in the positions and places mentioned: in others, near and far, she has displayed such abilities as a songstress as to have won golden opinions of those composing her many large and cultivated audiences, while the press have awarded her the highest praise.

While a leading member of the choirs before alluded to, and while winning encomiums that perhaps would, have turned the heads, so to say, of many, and caused them to have relaxed that assiduous and scientific study so necessary to the attainment of complete success, Miss Brown continued a zealous student of her much-loved art, being ever resolved to cultivate her voice to the highest point of excellence. _Apropos_ of this, I may mention that she once wrote a friend as follows: "My motto is 'Excelsior.' I am resolved to give myself up wholly to the study of music, and endeavor, in spite of obstacles, to become an accomplished artist." It may be observed, that none but those who are actuated by the most noble motives, and who give utterance to them in words of such inspiring earnestness as these, _do_ become "accomplished artists."

Deciding, then, to secure the fullest development of her voice, and to gain those acquirements that belong to a technical education, living within a few hours' ride of Boston, she here became first a pupil of Mrs. J. Rametti, and afterwards entered one of the great conservatories, where she was placed under the guidance of Professor O'Neill, a gentleman highly esteemed as a teacher of voice-culture. She had not long been connected with the New-England Conservatory of Music, when its director requested her to appear at the quarterly concerts of that institution that were held in Music Hall. Here on two occasions, before large and highly-cultivated audiences, with beautiful voice, correct method of expression, and ease and grace of stage deportment,--singing, in Italian, music of a high order,--Miss Brown won the most enthusiastic applause. Predictions of her complete success as a brilliant lyric artist were freely made by many connoisseurs. But these have not been her only appearances in Boston. She has many times sung at concerts in the finest music-halls of the city, before many critical audiences; her charming rendition of the numerous English, Italian, French, Scotch, and Irish songs in her rich _repertoire_ making her one of Boston's favorite cantatrices.

In order that the opinions heretofore given in regard to Miss Brown's vocal abilities and artistic accomplishments may be shown not to be exaggerated, I now desire to append some of the notices which her performances have elicited from the press of New England and other sections of the country. And here I am confronted by the first real difficulty that has appeared since I began this sketch; for I have before me nearly one hundred comments, all highly complimentary, only a very small number of which may here be reprinted. To properly arrange and give them _all_ would be an easy and most pleasing task, since the collection forms an unbroken, a delightful series of musical descriptions, interspersed with high but always discreet praise of the artist whose performances, in the main, called them forth; but to be compelled, from want of space, to endeavor to select, from among these many encomiums, only those which, while they do justice to our subject, are yet brief and together varied and interesting, is a duty attended with some embarrassment. Before attempting to do this, I deem it proper to say, that, if printed together, the comments referred to would make a volume of considerable size; which, containing, as it undoubtedly would, the truthful, spontaneous tributes of lovers of art to one of its most faithful and accomplished devotees, might well be considered by herself and many admiring friends as of most inestimable value.

The following have reference to Miss Brown's appearances in Boston during the musical season of 1874:--

Said "The Boston Traveller," April 16,--

"Miss Nellie E. Brown has for some months been the leading
soprano at Grace Church, Haverhill, Mass.; which position
she has filled with eminent acceptance, and with marked
exhibition of artistic powers."

And the same paper at another time said,--

"Miss Brown possesses a very fine voice under excellent
culture, and gave with much taste several solos. Noticeably
good was her rendering of Torrey's 'La Prima Vera.' In all
her selections she exhibited excellent style and finish."

"The Globe," March 31, said,--

"Miss Nellie Brown showed a particularly well-modulated
voice, trained study, and appreciative method, which served
her well in the pleasant rendering given by her so
gracefully and unaffectedly."

The same paper, after alluding to her rendition of "Del Criel Regina," [Transcriber's Note: 'Del Ciel Regina'] said,--

"This lady is fortunate in her exceedingly sweet and
well-trained voice, which, in conjunction with her fine
personal appearance and stage manners, rendered her
reception unusually enthusiastic."

Speaking of an entertainment given at Parker Memorial Hall, a musical writer said,--

"Miss Brown has a charming voice, and sings with intelligent
expression and good taste. Two of her songs, 'Beautiful
Erin' and 'Bonnie Dundee,' were rendered with great
sweetness."

"The Boston Advertiser," March 31, said,--

"She has an exceptionally pure voice, which has been
carefully trained."

"The Transcript," April 16, said,--

"A soprano of good voice and cultivation."

"The Journal," June 13, 1874, said,--

"A talented vocalist, with a well-cultivated voice of a
remarkably fine quality. She pleased very greatly in several
selections."

Said "The Post," Nov. 13,--

"An artist of exceptional merit, possessing a voice of rare
compass, flexibility, and sweetness. In the solo, 'Land of
my Birth,' by Operti, she received enthusiastic applause."

The public journals of her own city and state very early in her career chronicled Miss Brown's musical achievements, and even then felt warranted in awarding her strong but judicious praise. Latterly they have many times spoken in most enthusiastic terms of her added accomplishments. I shall quote only a few of the briefest of these.

"The Dover (N.H.) Daily Democrat," Dec. 19, 1873, said,--

"The concert given in the City Hall last evening by Miss
Nellie Brown, assisted by Misses Gray and Bracket and the
Amphion Glee Club of Haverhill, Mass., was a success....
Miss Brown was very warmly greeted, and surprised all with
the ease and grace of her appearance, the richness of her
voice, and the fine rendering of her music. She was
enthusiastically encored."

"The Dover Enquirer," Sept. 7, 1876, said,--

"The organ and vocal concert at the new Methodist-Episcopal
church on Tuesday evening was one of the finest ever given
in Dover.... Dover's favorite, Miss Nellie E. Brown, was as
warmly greeted as ever, sang most charmingly, and was loudly
encored."

"The Dover Democrat," Sept. 6, 1876, said,--

"It [the concert] was a grand and complete success.... One
little incident, or intended incident, was omitted at the
concert. An elegant basket of flowers was sent by the
friends of Miss Nellie Brown at Haverhill, for presentation
to her at the close of her singing; but the express folks
failed to deliver it in season. It was too bad; but Miss
Brown and her numerous friends appreciate the good-will of
the Haverhill people all the same. It was intended as a
pretty tribute to one of the best singers in New England;
and, so far as the act itself was concerned, it stands just
as well as though the presentation had taken place."

Miss Brown has sung in quite a number of the larger towns and cities of Massachusetts, in which State she is scarcely less a favorite than in New Hampshire. She has appeared at concerts in company with some of the most eminent artists of the country (such as, for instance, Professor Eugene Thayer, J.F. Rudolphsen, Myron W. Whitney, Mrs. Julia Houston West, Mrs. H.M. Smith, and others), and always with fine success. In her own city and state she enjoys a popularity unequalled by any other cantatrice, her beautiful voice and many excellent traits of character winning her the warmest esteem of all. The people of Dover are very proud of her, and greatly delighted that one of their number is received with such marks of enthusiastic favor in other States. The Dover papers always readily record these triumphs, and proudly speak of her as "our prima donna."

In November, 1874, our subject sang in Steinway Hall, New York, and was highly complimented by several of the papers of that city.

"The Gazette," Nov. 4, 1874, said,--

"Miss Nellie Brown, born and bred among the lulls of New
Hampshire, possesses a voice of rare power and beauty, which
she has diligently labored to cultivate and improve by close
and unremitting study. She has also a rare charm of manner,
which, united with her exquisite singing, won for her an
enthusiastic reception."

Another paper thus referred to her:--

"Miss Brown is not a New-Yorker, but resides at Dover, N.H.,
where she is the leading soprano in the principal church.
Her stage presence is quite prepossessing. She sang 'Salve
Maria,' and 'Robert toi que j'aime,' with very good effect,
besides assisting in several duets and quartets. She
possesses a very good voice; and, although of light calibre,
it is even now able to fill a hall like Steinway."

She has appeared at concerts in Washington, D.C., Portland, Me., Baltimore, Md., and St. John, N.B. In December, 1874, Miss Brown visited the national capital, where she sang in a series of concerts given in Lincoln Hall under the auspices of the Abt Society. Of the part taken by her in one of these "The National Republican" said,--

"'La Prima Vera,' by Miss Nellie E. Brown, was beautifully
and artistically rendered, the lady possessing a beautiful,
full, round voice, which blended harmoniously with the
perfect ease and faultless execution which graced her
performance. It being her first appearance before a
Washington audience, the expectation formed of her
excellence in an artistic sense was more than realized.
'Nobody at Home but Me,' sung by the same lady in reply to
an encore, more fully, if it were necessary, stamped her as
an artist of the first class."

I believe I have already intimated that the very high esteem in which Miss Brown is held arises not alone from her possession of charming lyric qualities, but also from her obliging disposition and engaging manners. She has ever been the true artist; earnestly devoted to the fullest development of her own musical powers, but not envying those of others; loving music intensely, as something sacred, and always anxious to aid in extending its benign influence. The people of Dover, of Haverhill, of Boston, and other places, hold her in grateful remembrance for a frequent exercise of those generous impulses that have caused her to often sing without charge at concerts given for the benefit of many good objects.

As one among her many acts to benefit the young, to inspire them with a love of the beautiful in music, I may refer to the "Centennial Musical Festival" originated by her, and given under her direction in Boston on the evenings of May 16 and 17, 1876. For these occasions she had carefully instructed fifty young girls to perform the beautiful cantata of "Laila, the Fairy Queen," a juvenile operetta. This charming composition is admirably adapted to inspire a love of the beautiful in art, and to nurture sentiments of Christian kindness. The following is in brief the plot:--

"A band of mountain children are collected to spend the
summer day in singing, gathering flowers, and feasting
around their table spread beneath the shadowy branches of
the trees. They are interrupted by the approach of a
beggar-woman and her children. A part of the children at
first repulse her, offended at having their joyous festival
thus interrupted: but one of them, Laila, steps forth with a
mild rebuke to her playmates for their unkindness: she
welcomes the poor mother and children, and bids them make
known their wants. The other children soon join with Laila
in speaking kindly to the poor wanderers; and, after they
have told them their tale of sorrow, they are invited to the
feast which the children have prepared, and all together go
out with a merry song to where the table is spread. But
Laila, the favorite of all, wandering off alone to cull some
wild flowers, in the ardor of her search loses her way, and
wanders about until night approaches; and then, as weary and
frightened she finds herself in a dark forest, she kneels to
ask aid from her good angel, when suddenly a little band of
fairies with their queen glide into her presence, glittering
in their robes of beauty; and, after her surprise is over,
at her entreaty they conduct her to her playmates.

"The mountain children soon miss Laila, and all the
afternoon they spend in fruitless search for her; and, as
night approaches, they collect in the grove where they first
assembled, and are expressing their grief and terror at the
loss of Laila, when she is led in by the fairies and their
queen, who steps forth, and announces to the children that
they are the same ones, who, disguised as wretched beggars,
came in the morning to prove the generosity of their hearts;
and tells them never in future to hesitate to give the
needy, for virtue is sure to be rewarded. All unite in a
joyous song, and Laila is crowned their queen."

The many persons who were so fortunate as to witness the performance of those charming misses will not soon forget the delights that were thus afforded them, nor will they fail to remember most gratefully the lady to whose painstaking and noble efforts they are so much indebted for what was a rare treat.

I would fain attempt a description of the scene of dazzling beauty upon which our eyes feasted, and the music of the fresh young voices that fell delightfully upon our ears, and touched with gladdening effect each heart; but I forbear, and give place to the musical critic of "The Boston Journal," who, on May 17, said,--

... "The occasion was the presentation of the cantata of
'Laila' by fifty young ladies, under the direction of Miss
Nellie E. Brown. The misses, ranging from five to fifteen
years, possess very sweet voices; and the music was given
with much taste, and a degree of artistic excellence
reflecting great credit on Miss Brown's efforts.... The
audience were greatly pleased with the rendering of the
music.... While the singing was good, there was exhibited
considerable dramatic art by some of the young ladies. The
dresses worn are neat and pretty, the fairy costumes being
very striking and appropriate. The stage, too, was neatly
set; and there was quite a good spectacular effort in the
representation of the fairy grotto."

At Haverhill, Mass., Dec. 13, 1876, Miss Brown again gave this operetta, when the fifty young ladies appearing were chosen from the high school of that city.

"The Haverhill Bulletin," Dec. 14, 1876, said,--

"The presentation of the operetta of 'Laila' at City Hall,
on Wednesday evening, was a very gratifying success.... The
whole affair was under the direction of Miss Nellie E.
Brown, the popular soprano of Grace Methodist-Episcopal
Church. She was assisted by some fifty young ladies of this
city; and the promptness and harmony with which all the
arrangements of the affair were carried out, as well as the
musical and dramatic talent displayed by them, are certainly
very creditable both to her superintendence and their
co-operation."

In the month of July, 1876, Miss Brown was engaged to sing at the "Great Sunday-school Parliament" held on Wellesley, one of the famous Thousand Islands, in the River St. Lawrence. The now much-lamented Professor P.P. Bliss (who had become so eminent as a composer of popular sacred songs), his talented wife, and Miss Brown, were the leading singers and soloists on the occasion mentioned. The two former failing to arrive in time, the musical exercises, which were of a very fine order, were arranged, and for a while conducted, by Miss Brown. Mr. and Mrs. Bliss, however, arrived some time after the sessions had begun, and then participated in the singing. At this memorable gathering of Christian people from all parts of the United States and Canada, Miss Brown, in the display of fine musical powers, won new laurels; and her charming singing was made the subject of frequent and very complimentary allusion by newspaper correspondents writing from the island. In a handsome volume since published by the director of the "Parliament," and which is a record of its proceedings, she is several times creditably mentioned.

The following is one of many like notices which the musical exercises mentioned elicited:--

... "As to the singing of Professor Bliss and Miss Nellie
Brown, it seems as though we are all in the third heaven at
once, and that it is almost sacrilege to come down to meaner
things."

Said Andrew Fletcher, "I knew a very wise man that believed, that, if a man were permitted to make all the ballads, he need not care who should make the laws, of the nation." This certainly was placing a very high, but perhaps not a much too high, estimate on the song-writing power. As coming next in greatness to the composers of meritorious popular ballads, we may mention those accomplished persons, who, possessing sweetly-toned, sympathetic voices, and evincing by their mode of expression a ready, a full conception of the author's meaning, have, in an eminent degree, the power to correctly, charmingly render them. In this form of musical expression Miss Brown delights her audiences not less than in her rendition of songs of a more pretentious character. In singing the former she exhibits a most winning _naïveté_, enters wholly into the spirit of the song, and with a full, pleasing voice, impresses deeply its melody and meaning upon the hearts of her hearers, thus exhibiting the highest kind of lyric eloquence. As a singer, then, of ballads alone, she would take high rank in the musical profession, even if she did not excel--it has been seen that she does--in the rendering of songs of a more technical character.

And now, in nearing the close of this sketch, if any reader shall ask to know the secret of the fine degree of success to which our subject has thus far attained (for, in considering great instances of individual achievement, we are ever prone to attribute the same to mysterious or fortuitous circumstances), let him be assured that there is really no "secret" about it. Miss Brown, no doubt, commenced her career with much musical talent, and Nature was otherwise kind to her: _but she has always been a diligent, persevering worker_; and to this cause, rather than to her possession of rich natural endowments, must be mostly attributed her praiseworthy achievements. Indeed, Nature's generous bestowment of talents, or even of genius, is of but little value when the favored one does not assiduously labor to cultivate and develop the same.

"No good of worth sublime will Heaven permit
To light on man as from the passing air:
The lamp of genius, though by nature lit,
If not protected, pruned, and fed with care,
Soon dies, or runs to waste with fitful glare."

In her efforts to acquire an artistic acquaintance with music, and to reach her present high and enviable position as a vocalist, Miss Brown has had the warmest sympathy and active co-operation of loving parents and an accomplished brother.[12] Nor should I in this connection fail to advert to the helping, the inspiring influence of thousands of the noble people of New England, who, fond lovers and constant promoters of the beneficent art of music, are ever prompt in the recognition and encouragement of _all_ its talented devotees. To the words of private cheer from many of these, and to the inspiriting effect of their upturned, delighted faces, and frequent plaudits, when listening to her beautiful voice in the crowded music-halls, she must often revert with feelings not less of justifiable pride than of the warmest gratitude. The writer is quite sure that he but echoes the sentiments of the admiring thousands just mentioned, when he predicts, that if Miss Brown shall continue to exhibit in the future, as in the past, the same conscientious, ambitious devotion to her chosen profession, she is destined to take rank with the world's greatest singers.

[Footnote 12: Eugene L. Brown. He was possessed of very promising histrionic ability, had frequently taken a leading part in amateur theatricals at Dover and elsewhere in New Hampshire, and was the author of a drama which was highly spoken of by the press of Dover. Unfortunately, in 1875 he died.]