The Kenosha telegraph and tribune. [volume] (Kenosha, Wis.) 1859-1860, 1860-02-16
THne blind Negro Boy Pianist.

We have before alluded to the remarkable mn
steal talent Of the blind slave boy Tom, the prop
erty OF STAKEHOLDER in Savannah. The report
OF this boys wonderful powers is thus confirmed
by the Charleston Courier of January oath. The
editor says:
| He strikes the keys with all the confidence Of
one largely gifted with the musical faculty, who
had devoted many years in the cultivation of the
talent. His manipulation is most graceful, his
touch is now exquisitely delicate and then all
the streng tn of his frail body is thrown into his
hands, and he strikes the instrument with impas-
stoned earnestness. .t. =
In his execution he not only reproduces the
piece with perfect fidelity, giving every note its
sound, but the style of the performer is likewise
exactly initiated. Several of our most distip-
gulshed musicians performed in Toms hearing
! long and complex operate pieces and the Heay-
en-taught boy reproduced them without commits
ing single mistake.
"We might conclude that this bows talent
soncisted in a remarkable development of the ia.
culties of memory and imitation, did he cop6ne
himself to those compositions he learns bv the ear
But he not ouly astonishes with the quickness
with which he acquires piece, no matter how
long and dlthcult, but he improvses with read
mess and tuency. On the occasion of which we
speak, Tom was directed by his master to plav
an oripinal piece, and he complied with cheerful
readiness. he composed with all the ease and
confidence that mark the fluent orator in the use
of words. 3d ifai '' aa4 9H1 85 81
y "The original compositions increase the won.
derlng interest excited by the performance of
this prodigy, and force US to look upon him as
one possessed of that rare and strange gift termed
genius. 1q #e.9a 4s u0l -
we heye alluded to the exquisltely graceful
touch OF this lad, but what we have said con.
corning his manipulation gives no idea of his
style and manner For he has style of his own
which is seen when improvising, and it is as
brilliant as it is original and peculiar, But it is
ms manner and countenance that most profound
ly impress. When not under the influence of
sweet sounds, his face is devoid of life and ex-
preston. This partly owing to blindness, but
IN far greater measure to imbecility We see q
boy with decidedly African type of face-Jow
retreating forehead, fiat spreading nose and pro-
Jecting upper lip, with every mark of idiocy we
see this awkward and stupid negro led to the ri
ano STOOL. lie takes his seat, but the first touch
on the the responsive keys shows us that his
soul is made of melody He sweeps his hands
over the keys with the air of master, and then
we behold the inspi ration manifesting itself in
his countenance and movements till in terest
changes TO awe, and we are dumb with astonisb
ment The melody penetrates his whole being.
An extatci influence flows from the KEYS into
his fingers and rolls like tide through his veins
lighting up fire in every nerve as it courses
along. His head is thrown back, now it rests on
one shoulder then on the other and again it
falls upon his breast. A light kindles on the
black face, and as we gazed, wondering, the fash
ion of his countenance seems changed 1t is alb
soutely beautiful. The divine ravishment in
creases every moment, and when he is thorouhly
sutfused with the inspiration of the melody, the
muscles Of his face twitch, and his upper teet tn
are pressed firmly upon his lower lip A feeling
of reverence steals over US as we behold this
mysterious and sudden transformation.