"Now test the power of analysis. Three pianos are opened: at two of them persons present hammer away, with the design of producing the most perfect discord imaginable; at the third piano, the professor makes a run of twenty notes. The confusion ceases, and Tom repeats in a moment each of the twenty notes sounded. Still another test. Tom takes the stool himself. With his right hand he plays 'Yankee Doodle' in B flat. With his left hand he performs 'Fisher's Hornpipe' in C. At the same time he sings 'Tramp, tramp,' in another key,—maintaining three distinct processes in that discord, and apparently without any effort whatever. 'Most marvellous!' you say; 'but can he express as well as he perceives?' The gentlemanly director will let you see. He asks Tom to render 'Home, Sweet Home,' by Thalberg. You know, that, of all productions in the current repertoire, there are none which have finer or more difficult shades than this. 'Blind Tom' proceeds; and, were you to close your eyes, you could not tell but Thalberg himself was at the instrument, so perfect and so exquisite is the conception and the touch. Then you have renderings in imitation from Chopin, from Gottschalk, from Vieuxtemps, from anybody you will mention who has been deemed a master of the art; and you turn away convinced, surfeited with marvels, satisfied that you have witnessed one of the most incomprehensible facts of the time."

"'Prodigies' of all kinds are presented ever and anon to the public nowadays; but we have had nothing yet produced so truly marvellous as the negro phenomenon known as 'Blind Tom,' who appeared for the first time in Manchester, at the Theatre Royal, last night. In order to test 'Blind Tom's' powers of memory, Mr. Joule gave a short impromptu, avoiding any marked rhythm or subject, but which was imitated very cleverly. To test his powers of analyzing chords, Mr. Joule played him the following discordant combinations: the chord of B flat in the left hand, with the chord of A with the flat fifth and sharp sixth in right hand; the chord of E in the left hand, and the chord of D, two sharps, in the right; the chord of A, three flats, in the left hand, with that of A, three sharps, in the right. All these chords were at once correctly named by enumerating each note in succession from the lowest. Mr. Seymour subsequently was called upon, and gave a subject, which he reproduced upon the piano-forte with great success."

"'Blind Tom,' the wonderful negro-boy pianist, made his début in Glasgow yesterday, when he gave three of his entertainments, or rather musical exhibitions, in the Merchants' Hall,—two during the day, and one in the evening. He is, without doubt, an extraordinary lad; born blind, though he is now able to distinguish light from darkness; and having a defect in some of his mental faculties, though what that defect is it is very difficult to say. Nature seems to have made up for these deficiencies by endowing him with a marvellously acute ear and a retentive memory. It is not uncommon to find blind people with their other senses much more highly developed, and much more susceptible of impression, than in people possessing all their faculties; but in no case have we ever heard or known of one with auditory nerves so fine, or with memory so powerful, as 'Blind Tom.' Mozart, when a mere child, was noted for the delicacy of his ear, and for his ability to produce music on a first hearing; but Burney, in his 'History of Music,' records no instance at all coming up to this negro boy for his attainments in phonetics, and his power of retention and reproduction of sound.... He plays first a number of difficult passages from the best composers; and then any one is invited to come forward and perform any piece he likes, the more difficult the more acceptable, and, if original, still more preferable. Tom immediately sits down at the piano, and produces verbatim et literatim the whole of what he has just heard. To show that it is not at all necessary that he should be acquainted with any piece beforehand to reproduce it, he invites any one to strike a number of notes simultaneously with the hand, or with both hands; and immediately, as we heard him do yesterday, he repeats at length, and without the slightest hesitation, the whole of the letters, with all their inflections, representing the notes. Nor are his wondrous powers confined to the piano, on which he can produce imitations of various instruments, and play two different tunes—one in common time, and a second in triple—while he sings a third; but he can with the voice produce, with the utmost accuracy, any note which his audience may suggest. Yesterday afternoon, for instance, he was asked to sing B flat, F sharp, and the upper A,—a very difficult combination; and, beginning with the latter, he at once satisfied his auditors of his success. One very funny feat he executed, which, as much as any thing else, showed what he could do. When at Aberdeen, as Dr. Howard explained, Tom heard, in a large ante-room adjoining the hall where he was, a teacher of dancing tuning his fiddle, the strings of which apparently had been rather difficult to get tightened up to proper tune. Tom had but to listen, and he retained every sound which the dancing-master produced. Tom's imitation on the piano—first of the striking of the violin-strings with the fingers for some time, after the manner of violinists, then seeing if they chorded well, again touching up the strings, anon giving a little bit of a polka, and once more adjusting the strings, and so on, all exactly as he heard it—was as amusing as it was astonishing. No one with an ear for music should miss the opportunity of going to hear him ere he leaves."

"'Blind Tom.'—Last night this negro boy, of whose remarkable performances so much has been said and written of late, made his first appearance here in the Operetta House. There was a crowded audience, among whom were a number of the musical cognoscenti of Edinburgh, whose curiosity had been excited by the reputation he had gained in America, as well as by the favorable notices of the press in this country, and the testimony of such men as Moscheles and Halle.... It is only when he sits down to the instrument, that he becomes, as it were, inspired. He played several pieces on this occasion from memory, and displayed great execution, and a greater amount of feeling and expression than we were prepared to expect. One of the best of these was the fantasia on the Hundredth Psalm, which was brilliantly executed. One of his most extraordinary feats is the reproduction of any piece once played over to him. On this occasion, Mr. Laurie, who was present, at the invitation of the manager ascended the platform, and played a composition by R. Muller, which occupied nearly five minutes. He no sooner left the instrument than 'Blind Tom' took his seat, and gave a correct imitation. His ability to name any combination of notes, no matter how disconnected and puzzling the intervals, was fully proved. The professional gentleman we have named struck simultaneously no less than twenty notes on the piano; and these 'Blind Tom' named without a single mistake."

"'Blind Tom.'—This extraordinary musical prodigy gave two performances in Dundee yesterday, and on each occasion the powers displayed by him were so marvellous as to verge upon the miraculous. Our readers must not suppose that his proficiency is merely of an ordinary kind, or that his notoriety is another species of Barnumism. The letter we published yesterday from a private friend, in whose opinions we place the greatest confidence, shows that it is not so; and we believe the opinions of all who yesterday heard him will be found to be those of astonishment and admiration. History affords no parallel to 'Blind Tom.' His ability would be marvellous, even if he had his eyesight; but, as we have before remarked, when it is considered that he is blind, it is beyond measure strange. Unless one sees or hears him play, he is unable properly to understand the extent of his ability. Test him how you may, he never fails. His memory is as miraculous as his musical powers; and he plays over a piece he has never heard before with almost infallible exactitude. Yesterday several gentlemen went to the platform, and played over pieces; and, during the time they were so occupied, it was amusing to witness Tom's contortions of his body, and his movements generally. He swayed himself about, his eyeballs rolled, his fingers twitched involuntarily, and he seemed like one possessed; and, on being allowed to seat himself at the piano, he repeated from memory the various pieces which had been played to him. In the evening, Mr. Hirst played over a number of pieces of the most difficult character, all of which Tom produced with fidelity.

"On inquiry, we find that his proficiency is a natural gift. From his earliest infancy he betrayed the utmost interest in musical sounds of every kind,—the cries of animals, the moaning of the wind, the rushing of waters, and the like; and when he was allowed to go out in the fields, if he heard a bird sing, he rushed off towards it with frantic delight. We publish a letter we received the other day from an intimate friend in another town,—a gentleman of great musical taste, and no little executive ability,—who is well qualified to give an opinion on such matters. He says,—

"'I presume you have not heard "Blind Tom" play. If not, you never heard a better performer. Like most people, of course, I was inclined to regard this wonderful prodigy as a wonderful humbug; but I assure you, that so far from this being the case, or any thing like it, Tom is as genuine an artist, and possesses as much (and, for any thing I can tell, a great deal more) musical talent or power, either as regards the execution of the compositions of others or of his own, as either Thalberg, Halle, Madame Goddard, or anybody else you ever listened to. I write merely to disabuse your mind of the common impression which we are all apt to form of these singular geniuses; and very strongly recommend you not only to hear him play, but privately test him (as I have done) in any way you like. Improvise to him as difficult or elaborate or out-of-the-way piece as you please, and he will instantly reproduce it. Now, this is no common gift; and therefore you and I, and all who know any thing of music, should use our best efforts to let the public know, that, so far from there being any thing in the nature of clap-trap about Tom, he is, in fact, a musical gem of the first water. Of course I have nothing to do with him; but I have been so highly pleased with his performances, that I thought it might be as well to let you know beforehand (in case you have not already heard him) what my own real impression is of him.'

"He not only repeats every piece he hears from memory, but he improvises and composes; and he last night sang a song of his own composition,—'Mother, dear mother, I still think of thee,'—of great merit for its simple sweetness and pathos. As he cannot possibly remain longer in Dundee than to-night, we would earnestly urge upon all who can afford it the absolute duty of seeing and hearing this wonderful blind negro boy. He is only seventeen; but no man of any age could surpass him for executive ability, as his testimonials from such men as Moscheles, Halle, &c., prove. He performs two or three different melodies at the same time, and plays with his back to the piano with apparently as much ability as in the ordinary position. We would especially recommend all who are interested in anthropology, phrenology, and psychology, to see and hear him for themselves. His ability is a singular confutation of the theories of Hunt and Blake about the inferiority of the negro; for we may challenge any white man to compete with him, in perfect safety. His parallel is not to be found the world over, nor in any time of which the records are known."

"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,' 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."

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 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."

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.

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.

"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."

"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."

"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."