Chapter XV: Samuel W. Jamieson,

THE BRILLIANT YOUNG PIANIST.

"While a skilled artist's nimble fingers bound
O'er dancing keys, and wake celestial sound."

JULIAN.

"Nor Fame I slight, nor for her favors call:
She comes unlooked for, if she comes at all."

POPE.

"The entertainments at Parker Memorial Hall on Sunday evenings in no wise lessen in interest and numbers. One evening, listening to Gounod's 'Ave Maria' by the famous Germania Orchestra, we felt that the worship of the Virgin, of which was born such heavenly strains, if for no other reason, was not without its use in the world even now. Another evening Mr. Jamieson awoke the echoes of the piano in a manner to do credit to a Liszt and Chopin."

Thus, a year or two ago, spoke one of Boston's first writers and musical critics, when, in an article published in "The Commonwealth," alluding to the accomplished pianist, Samuel W. Jamieson.

In the comparison here made, so highly complimentary to our subject, this writer does not stand alone; for the remarkably fine execution of Mr. Jamieson has often drawn from other piano-students praise none the less flattering; while his mastery of so many of the difficulties that are connected with piano-forte playing, and his fine general musical talents, entitle him to a prominent place in books far more pretentious than this one. He has, in fact, attained to such brilliant proficiency (although quite a young man) as to cause him to be already ranked with the first pianists of the country.

Mr. Jamieson was born in Washington, D.C., in the year 1855. He began the study of music, taking lessons on the piano-forte, when about eleven years of age. Since then he has been under the instruction of some of the best masters of Boston, such as James M. Tracy, and Fred. K. Boscovitz, the celebrated Hungarian pianist. He has been a pupil of the Boston Conservatory; from which classical institution he graduated in honor in 1876, receiving its valuable diploma.

While a student at the Boston Conservatory, he was nearly always chosen by the director, Mr. Julius Eichberg, to represent at the quarterly concerts the fine progress made by its pupils. At such times his performances of numbers, requiring rapidity of reading and execution, together with a good knowledge of piano _technique_, drew from the press the most favorable comments, and made him the favorite piano pupil at the institution mentioned. The following, as an instance of these comments, is taken from "The Boston Journal:"--

... "But the best thing in the piano line was the rendering
of Chopin's 'Polonaise,' in E flat, by Mr. Samuel W.
Jamieson. The 'Hungarian Rhapsodie,' No. 2, of Liszt, was
most particularly characterized by a delicate touch, and a
clear conception of the subject in hand.

"It is but just to say that this gentleman is an advanced
scholar."

And this from "The Folio," referring to another like occasion:--

"Mr. Samuel Jamieson, pupil of the Boston Conservatory, but
directly under the instruction of Mr. Tracy, carried off a
good share of the honors of the recent _matinée_ of that
very successful school."

"The Boston Traveller," describing the performances of pupils of the Conservatory at Music Hall, after stating that all the performances were of a high order, makes special mention of Mr. Jamieson, saying that "his execution of a difficult number was worthy of the highest praise." Many other comments equally favorable could here be given, were it necessary.

His performances at these concerts soon made him widely known among the musical and general public of Boston and vicinity, and his services as a soloist became much in demand. As soon as he had attained to a fair degree of proficiency, he began to give lessons on the piano-forte; and by so doing, and by occasionally appearing at concerts, he secured the means to continue his studies at the Conservatory. His playing at one of these concerts was thus spoken of in a Boston paper:--

"The concert given on Tuesday evening at the Music Hall,
though so little known as to be thinly attended, was a very
satisfactory entertainment, and well deserved a large
audience. Mr. Jamieson is a pupil of the Hungarian pianist
Mr. F. Boscovitz, some prominent features of whose style he
closely imitates. His playing shows him to be a careful,
conscientious student, possessed of real musical
sensibility, without any of the nauseous sentimentalism so
common among young players. His best performance in every
respect was Liszt's 'Rigoletto' fantasie, the mechanical
difficulties of which he has well conquered, and the
passionate meaning of which he interpreted very finely. In
answer to an encore of this piece, he gave Mr. Boscovitz's
exquisite little 'Chant du Matin,' Op. 68.

"He will make an excellent pianist if he prosecutes his
study as faithfully as he has commenced it. Mr. Jamieson
carries with him the good wishes and the highest
expectations of those who heard him."

He early showed a singleness of devotion to his chosen work, and has always evinced a spirit of ambitious aim. Some particulars of the latter, while winning him the approval of the thoughtful, have caused him to be misunderstood and censured by others. With fine artistic taste, ever aiming high, fully in earnest, and with no more than (as the writer believes) a just estimate of his attainments and consequent rank as a musician, Mr. Jamieson has sometimes declined to appear at the "two-penny show" concerts given generally in the churches, and often by "artists" (?) of abilities so poor as to render them fit subjects for the training of a rudimentary music school rather than as objects of public view or favor. Still I do not believe that Mr. Jamieson has been unwilling to acknowledge the generally known fact, that much good has often been done by amateurs and others at church concerts, both by the aid thus afforded to meritorious causes, and by the musical practice and public acquaintance obtained for themselves. That he has not been without a ready sympathy for the persons or causes to be benefited by such entertainments is well evinced by the fact, that (notwithstanding he holds certain views mentioned in this connection) he has appeared at times at the same, at the better kind, making no charge for his services; and yet his occasional refusal to appear at certain of these concerts has been attributed--generally by ignorant persons, but sometimes also by others, who, as they knew better, must have been influenced alone by bad motives--to his possession of undue self-esteem, &c. But these unjust criticisms, although often causing him pain, could never swerve him from his chosen path. He would never lower his standard, and he always sought to enter the lists with those who contended for the highest prizes in art. The prominent position he holds to-day as an artist is proof that his course has been the right one, and the one which should serve as an example to all those young persons, who, endowed with musical talents, are yet neglecting to cultivate the same; who are, in fact, allowing them to gradually waste away by giving themselves to unmusical, injurious associations; and who quite too often spend the precious time that should be given under competent teachers to diligent, untiring study, in appearances before audiences whose applause, of doubtful value, is readily bestowed in unstinted quantities, and which serves, alas! but to dazzle, to deceive, and too often to permanently ruin, the young performer.

Mr. Jamieson's fine, ever-increasing musical abilities, his general intelligence and gentlemanly bearing, soon gained for him the _entrée_ of the best musical circles of Boston and vicinity, and secured for him association at concerts with the most advanced artists. During the winters of 1875 and 1876 he several times appeared before large and enthusiastic audiences at a series of entertainments given at Parker Memorial Hall. A writer thus mentions his performances at one of these concerts:--

"Mr. Jamieson, the pianist, was before the public last
season, and then gained strong praise. He is a promising
young artist, and his performances on this occasion showed
marked improvement. His selections embraced a fantasie on
the 'Wedding March' of Liszt, a fantasie on themes from
'Rigoletto,' and variations on 'Home, Sweet Home;' and in
all three he won deserved applause."

He has devoted himself solely to the piano-forte, and makes no pretensions to a knowledge of other instruments, considering the former as quite worthy of his undivided study,--especially in these days, when, in his own city and state at least, fine piano soloists are so numerous, and whose best performances he desires to equal, and, if possible, to excel.

From the first, Mr. Jamieson has given himself to the performance of only the higher class of music. So determined is he in this respect, that he will not play _dance-music_, not even that of the best order. The writer once asked him to play one of Strauss' most bewitching waltzes,--one full of those delicious, so to say, entrancing melodies, for which the productions of this gifted composer are so noticeable, and one which at the time had taken nearly every one completely captive. I refer to the "Beautiful Blue Danube" waltz. But he declined to play it. I again and again entreated him; for I not only delighted to hear as often as possible this charming-selection, but, knowing Mr. Jamieson's rare powers as a pianist, I was especially anxious to hear _him_ give life to its magic strains. No amount of persuasion could move him, however; and he finally ended the matter by telling me that he never, under any circumstances, played dance-music, as he deemed its practice an injury to one who wished to reach the highest positions as a pianist. So I was compelled to pocket my disappointment, and to go elsewhere for my "Beautiful Blue Danube."

Mr. Jamieson is an assiduous student, devoting several of the early morning hours of each day to practice on the piano-forte. Even during the heated term, when most artists neglect their instruments, and hie away to enjoy the refreshing breezes of the sea-shore or the mountains, he may much of the time be found at his rooms, undeterred by the hot atmosphere, diligently at work keeping up the nice degree of proficiency he has already attained, or bravely attacking whatever difficulties remain to be overcome. He does, it is true, go away every summer to a quiet nook in the country, remaining, however, only a short while, and during which he does not, to any great extent, lessen his hours of practice.

During the winter of 1874 he several times appeared at public concerts in Boston and in other parts of New England. His performances at a _soirée musicale_ at the Meionaon, Tremont Temple, Boston, were alluded to in the following gratifying terms by "The Boston Globe:"--

"Mr. Jamieson exhibits much power and delicacy, and a
certain confident but not obtrusive manner, which will go
far, with his abilities, to place him in a high rank among
our pianists. He gave much satisfaction; his performance of
Liszt's fantasie on themes from Verdi's 'Rigoletto' showing
great skill in mastering the difficult technicalities in the
variations on the theme."

And in this manner by "The Boston Traveller:"--

"Mr. Jamieson has come into prominence in this city as a
pianist, and the ability he has shown has won him the regard
of musical people. His selections last evening were all of
the highest order, and were uniformly well performed.
Compositions of Chopin, Boscovitz, and Liszt, were given;
and in each a clear appreciation of the character of the
compositions was shown."

Referring to another occasion, "The Boston Globe" thus spoke of our artist:--

"The participant best known to the Boston public, perhaps,
was Mr. S. Jamieson, who has appeared as pianist on several
occasions in public and private with marked acceptability.
He was on the programme for two solos, both of which were
given with a skill and an artistic conception that sustained
the favorable impression that he had previously made."

Mr. Jamieson has for some time cherished a hope of going to Europe, there to place himself for a while under the direction of one or more of the great masters of piano-forte playing; being firmly resolved to leave nothing undone the accomplishment of which will place him among the first pianists of the world. Those who know of his present abilities commend him for this desire, and feel warranted in predicting his complete success. Recently a few among the leading musical ladies and gentlemen of Boston tendered him a complimentary reception at the residence of one of the former, and at its close presented him a sum of money to aid him in carrying out the purpose just referred to. The occasion was thus alluded to by "The Daily Advertiser:"--

"A musical _soirée_ was given last evening at the residence
of Mrs. Jno. W. Perry in aid of Mr. S.W. Jamieson, the
talented pianist of the Boston Conservatory, who
contemplates a pursuance of his musical studies in Europe
the coming summer.... The assemblage, which was one of the
highest order of respectability, thoroughly enjoyed the
choice music that was selected for their ears. Mrs. Kempton,
Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, Haggerty,
Walker, Willard, and Sweetser, contributed in a programme
made up of numbers from Rossini, Rubenstein, Schubert,
Bendel, Mills, Campana, Chopin, Violetta, Liszt, and
Gottschalk."

The writer of the above deemed it quite enough to merely mention the names of composers and artists, leaving to the musical reader to imagine (as easily he could) how rich and plenteous a feast of harmony must have been furnished to those fortunately present on this delightful occasion.

As may perhaps be inferred from the comments heretofore given, Mr. Jamieson, as a pianist, is noticeable for the clearness of his touch, the brilliancy of his style, and the thoroughness of his execution,--not failing to exhibit these pleasing qualities even when playing the most rapid passages,--while he ever shows a full and ready sympathy with the spirit and aims of the composer.

His remarkable proficiency as a pianist, and the private and public attention which the same has drawn to him, has secured him, from time to time, many pupils and as a teacher he has been quite successful.

If the doctrine of "heredity" be true, Mr. Jamieson may trace his possession of musical talent to his grandfather, who attracted much attention as a musician.

But there is no easy road to proficiency and eminence in the musical art; nor is there one in any other. Art is a right royal and exacting mistress; and he who would be numbered among the favored attendants at her court must fairly win the distinction by that devoted, undivided loyalty which is ever accompanied by the severest study, the most self-denying application. It cannot be denied, of course, that the possessor of genius or of talent may succeed far more easily than he who is without such powerful aid; but it is also true, that those who by their works present examples of great achievement in the science of music, and who cause us often to pause in utter amazement when reflecting upon the exceeding beauty, the magnitude and grandeur, of their creations, owed their brilliant success as much to indefatigable labor as to their great gifts of mind. Indeed, as has often been said, "_there is no excellence without great labor_."

So our young artist--of course I speak of him in this connection in a comparative sense--owes his present high success not more to his possession of rich natural talents than to the tireless zeal with which he has cultivated the same.

Possessing naturally a loftiness of spirit, and with a just conception of his powers; having full faith in and trusting himself; not unmindful of, nor unduly elated by, the many commendations he has received from critical judges touching his musical abilities; wearing easily all the attentions and honors he so constantly wins, and quickly noting and acting upon any suggestions of errors in his performances; at all times a conscientious, a zealous student, impelled by a deep and enthusiastic love for the art of music, and never satisfied unless working amidst its higher forms,--possessing, as Mr. Jamieson does, these rare and valuable characteristics, and being withal still quite young, it is but reasonable to believe that he will ere long attain to the highest distinction, and be ranked with the very first pianists of the time in either the New or the Old World.