"We have never been called upon to record a more brilliant and instantaneous success than has thus far attended this talented young aspirant to musical honors. From obscurity she has risen to popularity. She has not been through the regular routine of advancement; but, as it were in a moment, endowed by nature with the wonderful power of song, she delighted the circle in which she moved, and is now enchanting the public. Last evening the hall was thronged at an early hour. In every song she was unanimously encored."
"We have never been called upon to record a more brilliant and instantaneous success than has thus far attended this talented young aspirant to musical honors. From obscurity she has risen to popularity. She has not been through the regular routine of advancement; but, as it were in a moment, endowed by nature with the wonderful power of song, she delighted the circle in which she moved, and is now enchanting the public. Last evening the hall was thronged at an early hour. In every song she was unanimously encored."
Miss Bowers now lives quietly at her home in Philadelphia, singing in public only on special occasions. She is, of course, still a devoted lover of the art of which she has been so fine an exponent; while she yet possesses, through voice and method, the power to charm an audience.
The name ofMr. John Mooreshould be mentionedhere. He was a born musician, so to speak, and was ever "full of music." I remember him as the leader of the band of the Fifty-fifth Massachusetts Regiment during the late war. Although in this position he generally played upon the E♭-cornet, he could also play most of the other instruments used in the band; and was, besides, a good performer on the violin and flute. Very pleasant recollections of "our band," as we soldiers fondly termed it, remain, I am quite sure, with all the surviving members of the Fifty-fifth Regiment. In camp-life it often enlivened the dull hours, and gave, by sweetest music, a certain refinement to what would have been without it but a life of much coarseness; while upon the wearisome march we often forgot our fatigue as we briskly marched, keeping step to the animating music. To Mr. Moore, the leader, much praise is due for the great benefits afforded the members of the regiment by good music; nor do we forget the skill displayed by the other members of the band, which enjoyed the reputation of being the best in the Department of the South. Mr. Moore died at Philadelphia in 1871.
Professor Lottof Pittsburgh, Penn., has attracted attention as one of the very first violoncellists of the country. He has travelled quite extensively in the United States with a concert-troupe.
Mr. Z.A. Colemanis a good singer of bass.
Mr. E. Minor Hollandof Cleveland, O., is a good performer on the B♭-cornet, violin, and double-bass. He is quite a young man, and, possessing much talent, may become a musician of great merit if he continues his studies.
Miss Mary F. Morrisperforms upon the piano-forte with fine skill and taste, and is a vocalist of excellentpowers. She has pursued her musical studies in the Cleveland Convent, the teachers of which enjoy a high reputation; and also under Professor Alfred Arthur, one of the finest instructors of Cleveland.
I.A.D. Mitchell, playing the E♭-cornet, is the very efficient leader of a band.
Miss Annie Hendersonis a very pleasing vocalist. She also studied at the convent previously mentioned, and under Professor Arthur.
Miss Clara Monteith Holland, a young daughter of Justin Holland, the celebrated guitar virtuoso, gives much promise of becoming a brilliant pianist.
Washington, O., enjoys the honor of being the home ofMr. Samuel Lucas, a fine baritone character-singer, the author of a book of songs. He, besides, has but few equals as an actor in comedy; has travelled throughout the country as a performer, receiving everywhere the warmest praises of the press.
While on a visit to his home last summer, Mr. Lucas was the recipient of a complimentary benefit tendered by the admiring citizens. The offer of this flattering testimonial was signed by over fifty of his most respectable townsmen, and the affair was in all respects a successful one. Mr. Lucas was assisted in the performances by the following young ladies: Misses S. Logan, Dora Chester, Laura Reed, Delia Lamon, S. Melvin, and Fannie Chester. Mr. Lucas is at present a valued member of the Hyers Sisters opera-troupe, who are performing in "Out of Bondage" throughout the West.
"The Milwaukee Sentinel" of a late date thus alludes to his performances with this troupe:—
"As an actor he takes high rank; but it was in his singing that he made an already-delighted audience more pleased than ever.His rendition of 'Grandfather's Clock,' with distant chorus and refrain, was the sweetest music we ever listened to. The audience was breathless; the lowest whisper could be heard distinctly all over the house; and, as the last tones died away in the seeming distance, a hush as of death came over the audience, followed by thunders of applause."
"As an actor he takes high rank; but it was in his singing that he made an already-delighted audience more pleased than ever.His rendition of 'Grandfather's Clock,' with distant chorus and refrain, was the sweetest music we ever listened to. The audience was breathless; the lowest whisper could be heard distinctly all over the house; and, as the last tones died away in the seeming distance, a hush as of death came over the audience, followed by thunders of applause."
The writer would be very remiss did he fail to mention here the very remarkable music-loving spirit which has been exhibited by the colored people of Chillicothe, O. This very forcibly arrested his attention, when, several years ago, he visited that somewhat ancient city, once the capital of the State. It was then found that among the class of persons just mentioned—who formed, by the way, only a small portion of the city's entire population—there existed two or three singing societies, two brass bands (the latter the only organizations of the kind then in existence there), and two church-choirs, one of the same being composed of very good vocalists indeed.
In 1857Rev. John R. Bowlesorganized in Chillicothe a choir for his church, under the leadership ofJas. D. Hackley. This choir was considered one of the very best in Southern Ohio. Its leader possessed a tenor-voice of rare sweetness and power, and was quite proficient in rendering church-music, and in directing the singing of the same by his choir. But a few persons in the State equalled Mr. Hackley in the possession of these qualities. Of the two bands, the one called the "Scioto-Valley Brass Band" was organized in 1855 under the leadership ofRichard ChancellorandJohn Jones. The other was called the "Roberts Band," and was organized in 1857, the directors beingThomas HarrisandWilliam Davis. In 1859 these two organizations were united under the name of the "Union-Valley Brass Band,"Thomas HarrisandA.J. Vaughnleaders. This consolidation, composed of the best musicians of the two bands previously in existence, made a corps of performers that was unequalled in Ross and the adjacent counties, while it was one of the finest in the State. They owned a handsome bandwagon, and furnished the music for all such gatherings—irrespective of the color of the attendants—as county fairs, picnics, celebrations, political meetings, &c., throughout Ross County. This band contained several performers of such excellent natural and acquired abilities as would render them prominent among the best musicians of any section of the country.
Besides those already mentioned as leaders, I would now refer toMr. William H. Starr, one of the finest musicians of Ohio. He has been for a long time the leading spirit in all matters musical among the people. A good reader of all kinds of music, Mr. Starr easily gives it beautiful expression on any one of the many instruments used in a brass band of ordinary size. On several of these he is a pleasing soloist. His favorite is the E♭-alto, while he is also a skilful arranger of music for them all. Mr. Starr has also composed a number of pieces for his own and other bands; besides others, a quickstep, a march, and a polka. As a teacher Mr. Starr has been quite successful. One of his former pupils is now the leader of a band.
Mr. Thomas Harrisshould also have special mention here. He was a superior E♭-cornet player, a good bugler, and a very good performer on the clarinet; a good reader of music for each of these important instruments.
Mr. William H. Dupree, at one time the very efficient manager of the Union-Valley Brass Band, in which he was also a performer on the B♭-baritone, is a gentleman whose history is such as to warrant particular mention here, not only on account of his having always possessed an ardent music-loving spirit, but also from his general intelligence, and the fine progress he has made in attaining to several high stations of honor and usefulness. Mr. Dupree remained a member of the band in Chillicothe until 1863, when, on the first call for colored troops for the late war, he went to Massachusetts, and enlisted in the Fifty-fifth Regiment. He became first sergeant of Company H; in which position he won golden opinions from those in command for his strict attention to duty, his steady and rapid acquirement of military knowledge (becoming one of the very best drill-masters and disciplinarians of his regiment), and for his generally fine, officer-like bearing. At one time Sergeant Dupree was manager of the regimental band, in which position he rendered important service. In 1864 he was promoted to the grade of a commissioned officer,—a rare distinction for one of his race, owing to causes so well understood that they need not be mentioned here. In this new place of honor he so discharged his duties as to prove the wisdom of those who tendered the appointment; for he was always distinguished for an increased display, if possible, of those excellent qualities, the possession of which caused his promotion.
Mr. Dupree is now the very capable and popular superintendent of Station A Post Office in Boston, Mass. This office is situated in a district that comprises nearly forty thousand inhabitants, composed, for the greaterpart, of those among Boston's most intelligent and wealthy citizens. He was formerly connected with a musical organization in Boston. Although prevented by his other occupations from devoting much attention to music, Mr. Dupree has lost none of his old-time love for it; nor has he forgotten the pleasant days of yore when he was connected with the brass band at Chillicothe, of whose members he now speaks in terms of the most friendly regard.
Cincinnati now claims to be (very justly too) a decidedly musical city; and Boston and other older places, which have all along enjoyed the reputation of leading in matters pertaining to general art-culture, have been warned to look well to their laurels if they would not lose them through the advancement made by this their younger sister, so long considered the "Queen of the West." It is true that this distinguishing title has within a few years been claimed by Chicago, and even St. Louis. These latter, however, base their right to the name mostly on the results of the census-returns. In all that relates to the substantial greatness of a city,—viz., the general intelligence, solidity of character, and proportionate wealth of its inhabitants,—Cincinnati, I think, may still be considered as approaching nearer to the Eastern cities than either of the others mentioned. This is certainly true as regards the musical devotion of its people; and this characteristic is the one, perhaps, which most threatens the supremacy so long held in the East.
Having said this much of Cincinnati's residents in general, it will of course be expected that a very promising and brilliant addition is now to be made to these records. The reader, however, must be reasonable, and not expecttoomuch; for the same depressing causes (these have already been sufficiently particularized in other parts of this book) which have operated in other sections of the country against the subjects of these sketches have been also always fully in force in Cincinnati. It is thought that all candid observers will agree with the writer when he confidently avows his belief, that no other people, while laboring under so many disadvantages, would have or could have done better than these have done. But, judging from the facts at hand, there is really no need to beg the question; and therefore, without offering further excuses, I shall proceed with the record.
The colored children attending the public schools of Cincinnati are regularly taught to read music. They are frequently complimented for their good singing by their music-teachers.
The mention of the Cincinnati schools, by the way, brings to the writer's mind very pleasant recollections of his boyhood's home, and of the times when he attended school there. Twenty-five years ago, the colored school-children of Cincinnati were much remarked for excellent singing. They were not then, as they are now, taught to read music in the schools, but readily "caught" the pieces to be sung from the teacher, who sang them over a few times. I remember that at one time our favorite school-song was one called "The Captive." But only detached portions of it come to me now. It was a piece descriptive of the fortunes of war. A soldier of the defeated army is left behind a prisoner. The song describes his longings for freedom, and desire to rejoin his now-distant comrades.
I think the chorus ran in this wise:—
No answer being made to this signal, the prisoner thus laments his cruel fate:—
The melody was quite pretty, and the solo of the captive was of music so appropriate and pathetic as to bring tears to the eyes of both singer and auditory. Some of my former schoolmates, now grown to womanhood and manhood, will probably remember better than myself this song and others that with "glad hearts and free" we used to sing so earnestly in the schoolroom and at our school-exhibitions. From what I learn from credible sources, it may be stated, that a visit now to the schoolrooms of Cincinnati would reveal a scientific acquaintance with music so great as to almost prevent the making of a comparison between the two periods under consideration.
The Mozart Circle, under the direction ofMr. William H. Parham, is a vocal organization of twenty-five members, established about three years ago. In July, 1875, this society gave a public performance, in costume, of the cantata of "Daniel." No attempt was made to notify the press that the cantata was to be rendered; but a gentleman of fine taste, and one who is generally on the lookout for all signs of art-advancement made by the colored people, was present on the occasion referred to. His impressions of the performance were recordedthe next day in the Cincinnati "Gazette" and "Commercial," and were as follows:—
CONCEALED MUSICAL TALENT.Mr. Editor,—Permit me the use of a small space in your next issue to speak in deserved praise of a musical entertainment enjoyed by a portion of our citizens last Monday night.It was the cantata of "Daniel," rendered in full costume by the recently organized Mozart Circle, which, embracing about twenty members, has in the short space of six months developed a capacity which gave them success in this enterprise. It is a pity that their excessive modesty prevented their seeking the service of the press; for they have thereby kept themselves in an obscurity which it is my hope that this article will serve to draw them from. The preparation made for this entertainment should not have its service limited to a single occasion. It deserves repetition, and an appreciative public deserves the opportunity to enjoy it.Louisville, Columbus, Toledo, Cleveland, and other cities more or less remote, would give themselves a treat, could they prevail on the Circle to render the cantata in their midst. Not having consulted any one connected with it, it is a voluntary suggestion from me, that parties craving the enjoyment of a refined musical entertainment open communication with Mr. William H. Parham, its musical director.W.P.W.Cincinnati, July 7, 1875.
CONCEALED MUSICAL TALENT.
Mr. Editor,—Permit me the use of a small space in your next issue to speak in deserved praise of a musical entertainment enjoyed by a portion of our citizens last Monday night.
It was the cantata of "Daniel," rendered in full costume by the recently organized Mozart Circle, which, embracing about twenty members, has in the short space of six months developed a capacity which gave them success in this enterprise. It is a pity that their excessive modesty prevented their seeking the service of the press; for they have thereby kept themselves in an obscurity which it is my hope that this article will serve to draw them from. The preparation made for this entertainment should not have its service limited to a single occasion. It deserves repetition, and an appreciative public deserves the opportunity to enjoy it.
Louisville, Columbus, Toledo, Cleveland, and other cities more or less remote, would give themselves a treat, could they prevail on the Circle to render the cantata in their midst. Not having consulted any one connected with it, it is a voluntary suggestion from me, that parties craving the enjoyment of a refined musical entertainment open communication with Mr. William H. Parham, its musical director.
W.P.W.
Cincinnati, July 7, 1875.
TheRev. Thomas H. Jackson, pastor of Allen Temple, himself an excellent singer, a few weeks ago organized a select choir for the purpose of rendering the cantata just mentioned.Mr. William H. Morgan, who sings in the principalrôle, is a young gentleman quite worthy of the high praise which his performances have elicited. All the members of the choir sing well; but among them no one gives more marked promise than does a young schoolgirl of only thirteen years, namedElnora Johnson. The compass and sweetness of her voice areconsidered marvellous. This society promises to give the cantata "Esther."
From the foregoing it will be seen that much attention is being given to a study of some of the higher forms of composition,—a very encouraging sign indeed.
Another vocal society is called the Arion Quartet Club.Messrs. Andrew D. HartandJohn Lewisare two of its members: the names of the others I have not learned.
There are at present no instrumental societies except one or two very good quadrille bands.
Mrs. Ann S. Baltimoreis an accomplished pianist, and possesses, besides, a melodious voice. She has been favorably noticed by the press.
Professor Mooreplays skilfully the parlor-organ and piano-forte. He teaches the playing of these instruments, and also teaches vocal music.
Mr. D.W. Hamiltonis the very popular leader of a string-orchestra.
The private circles of Cincinnati are ornamented by several classical singers of both sexes.
First among the ladies isMiss Fannie Adams. She is welcomed as a member of the Cincinnati Choral Society; and is a skilled pianist, giving lessons on that instrument.
Misses Ernestine and Consuelo, daughters of Peter H. Clark, Esq., are sweet and scientific singers. They are pianists also.
Misses Mary and Fannie Cole, members of the Mozart Circle, are distinguished for the beauty of their voices, the last-mentioned particularly.
Miss Sarah Werleshas a voice which is much appreciated, and under her fingers the cabinet-organ itself seems to sing.
Misses Ella SmithandElla Bucknermust not be forgotten as valuable aids on public musical occasions.
Among the males,James P. Fergusonis distinguished as a bass, andThomas Monroeas a tenor singer.
Joseph Henson'svoice always has in it music of an inspiring character.
Fountain Lewis, jun., was diligently prepared during his boyhood for an organist, and in that direction is proving quite worthy of his father's care.
By reference to a programme of a combined dramatic and musical entertainment given in Cincinnati in May, 1876, under the direction of the popular elocutionist, Powhatan Beaty, I find the names of the following musical people not previously mentioned:—
Mr. Charles Hawkins performed "Streamlets" and "A Summer's Reverie" on the piano; Mrs. Emma E. Clark sang the solo, "Brightest Eyes;" Mr. Charles Singer sang a baritone solo; Mr. Edwin de Leon sang "Poor Old Joe;" and Mr. William H. Jones sang "My Soul is Dark."
I am not informed as to the extent of proficiency displayed on this occasion by these performers; but relying, as I ought, upon the good judgment of Mr. Beaty, presume that he called none to his aid except those at least fairly skilled in the rendering of music. The above names are, therefore, recorded here.
The city of Chicago contains quite a large number of very excellent musicians belonging to the race whose acquirements are here recorded. Besides several very fine church-choirs, there is a large organization of well-trained vocalists, the performances of which have been highly spoken of by the journals of Chicago and those of other cities in the State of Illinois.
Mrs. Frances A. Powell, the founder and directress of this society, is also the leading soprano of the Olivet Baptist Church choir. She was educated at Buffalo, N.Y.; and her superior powers as a vocalist have been made the occasion of very flattering testimonials by the press of Chicago and of the States of Illinois and Wisconsin.
Mrs. Harriett E. Freeman, an excellent mezzo-soprano, leading the singing of Quinn-Chapel choir, has been complimented by the press. She was educated at New Bedford, Mass.
Mrs. Charlotte M. Alexander, leading soprano of Bethel-Church choir, was educated at Cincinnati.
Mrs. Bessie Warwick, soprano and brilliant pianist, was formerly a pupil of Professor Baumback of Chicago.
Mrs. Hettie Reedpossesses a contralto-voice of remarkable purity and sweetness. She is one of the principal singers of the society first mentioned, and has been highly complimented by the critics of Illinois and Wisconsin.
Miss Eliza J. Cowan, educated at Chicago, a member of the Olivet-Church choir, is a very promising contralto-singer.
Miss Flora Cooperhas a voice of such great depth, that it really may be styled baritone. She was educated in Chicago, and is a teacher in one of the public schools of that city.
Mrs. Esther Washington(néeMiss E. Fry) is a finished performer on the organ and piano-forte. This lady is a graduate in thorough-bass and harmony from Warren's Conservatory of Chicago.
Miss Frankie Buckner, an accomplished organist and pianist, received her training at Detroit. She has beenpraised by the papers of Madison, Wis.; was at one time pianist to a large singing society: and is a contralto vocalist.
Mr. William D. Berryis a finely-cultured tenor, a ready reader of music, and excellent in oratorio performance. Mr. Berry formerly lived in Hamilton, Ont.
Miss Ida Plattis a brilliant pianist.
Mr. Elias Perryis a young tenor-singer with a very pleasing voice. He is a member of Olivet-Church choir.
Mr. John F. Ransom, baritone and organist, is a musician of excellent culture, possessing one of the finest male voices in Chicago. He was educated at Columbus, O. Is organist of Olivet Church.
Mr. George W. Meadis leading basso of the singing society heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his music with correct and very pleasing expression. He has been favorably mentioned, in connection with others with whom he has performed, by the papers of Chicago.
All of the persons whose names are included in the list just closed read music at sight, and are entitled to be ranked as artists.
"Songs from the sunny South-land."—A.K. Spence.
THE colored people of the South are proverbially musical. They might well be called, in that section of the country, a race of troubadours, so great has ever been their devotion to and skill in the delightful art of music. Besides, it is now seen, and generally acknowledged, that in certain of their forms of melodic expression is to be found our only distinctivelyAmericanmusic; all other kinds in use being merely the echo, more or less perfect, of music that originated in the Old World. All who have listened to the beautiful melody and harmony of the songs sung by those wonderful minstrels, the "Jubilee Singers," will readily admit that scarcely ever before the coming of the latter had they been so melted, so swayed, so entirely held captive, by a rendering of music; nor will they fail to admit that in these "slave-songs" of the South was to be found a new musical idea, forming, as some are wont to term it, a "revelation."
And if it were necessary to prove that music is a language by which, in an elevated manner, is expressedour thoughts and emotions, what stronger evidence is needed than that found in this same native music of the South? for surely by its tones of alternate moaning and joyousness—tones always weird, but always full of a ravishing sweetness, and ever replete with the expression of deepest pathos—may be plainly read the story of a race once generally languishing in bondage, yet hoping at times for the coming of freedom.
Of the character of this music, and of its effect upon those who hear it, no one speaks more clearly than does Longfellow in the following lines from his poem, "The Slave singing at Midnight:"—
Mrs. Kemble, in writing of life on a Southern plantation, tells how on many an occasion she listened as one entranced to the strangely-pleasing songs of the bond-people. Often she wished that some great musician might be present to catch the bewitching melodies, and weave them into a beautiful opera; for she thought them well worthy of such treatment.
It is often said that the colored race is naturally musical. Certainly it is as much so as other races. More than this need not be, nor do I think can be, claimed. It is, however, very remarkable, that a people who have for more than two hundred years been subjected, as they have, to a system of bondage so well calculated, as it would seem, to utterly quench the fire of musical genius, and to debase the mind generally, should yet have originated and practised continually certain forms of melody which those skilled in the science consider the very soul of music. Moreover, one is made to wonder how a race subjected to such cruelties could have had the heart to sing at all; much more that they could have sung so sweetly throughout all the dark and dismal night of slavery. Here is seen, it must be admitted, what appears very much like genius in the melody-making power. Something it is, undoubtedly, that shows an innate comprehension, power in expression, and love of harmony, in a degree that is simply intense. The history of the colored race in this country establishes the fact, too, that no system of cruelty, however great or long inflicted, can destroy that sympathy with musical sounds that is born with the soul. Only death itself can end it here on earth, while we are taught that for ever and ever heaven shall be rich in harmony formed by the songs of the redeemed. Perhaps other races, under the same terribly trying circumstances, would have shown a power to resist the mind-destroying influences of those circumstances equal to that which has been so fully shown by the colored race. But, be that as it may, the latter has actually been subjected to the awful test; and the sequel has proved, that, to say the least, it may be considered as the equal naturally of any of the other "musical" races composing the human family.
But the music of which I have been speaking was never cradled, so to say, in the lap of science; although, in its strangely-fascinating sweetness, soulfulness, and perfect rhythmic flow, it has often quite disarmed the scientific critic. It is a kind of natural music. Until quite recently no attempt was made to write it out, and place its melodies upon the printed music-page. Slavery, of course, prevented that. And this vile system,although it could not stamp out the "vocal spark," the germ of great musical ideas, could still prevent such growth of the same, such elaboration, as would have been secured by education in a state of freedom. Yet, since the war, many of the religious slave-songs of the South, words and music, have been printed. It has been found that they are as subject to the laws of science as are others; that they were not, as many persons have supposed, merely a barbarous confusion of sounds, each warring, as it were, against the other. For a proof of this (if there be those who doubt), the reader is referred to the "History of the Jubilee Singers of Fisk University," in which he will find printed the music of many songs like those to which I have alluded.
Thus have we considered, in part, the native minstrelsy of the South.
Notwithstanding their lack of a scientific knowledge of music, colored men, as instrumentalists, have long furnished most of the best music that has been produced in nearly all of the Southern States. At the watering-places, orchestras composed of colored musicians were always to be found; in fact, at such places their services were considered indispensable. Many of them could not read music; but they seemed naturally full of it, and possessed a most remarkable faculty for "catching" a tune from those of their associates who learned it from the written or printed notes: in truth, the facility of all in executing some of the most pleasing music in vogue was so great, that, when these little orchestras played, it was almost impossible to discover the slightest variation from the music as found on the printed page.
"A good many years ago," writes a correspondent from the White Sulphur Springs of Virginia, "the statesman Henry Clay was here, enjoying a respite from his arduous government duties. Being present at a grand reception where dancing was in progress, Mr. Clay wished to have played the music for a 'Virginia Reel;' but, to his great surprise, he learned that the colored musicians present did not know the necessary tune. Not to be cheated out of an indulgence in this, his favorite dance, Mr. Clay took the band over to a corner of the room, andwhistledthe music to them. In a very few minutes they 'caught' it perfectly; and, returning to their places, the enterprising statesman and his friends enjoyed themselves in dancing the 'Virginia Reel' just as though nothing unusual had occurred." At levees, at other public festive gatherings, and at the receptions given in the homes of the wealthy, these orchestras were nearly always present, adding to the enjoyments of the hour by discoursing the most delightful music. In short, they were to be found everywhere, always receiving that warm welcome with which a music-loving people ever greet the talented musician.
But, besides the associations of which I have just been speaking,—associations composed in part of those who understood music as a science, and in part of those who did not,—there has always been a goodly number of other persons of the same race, who, in spite of obstacles that would seem to be insurmountable, have obtained a fair musical education, and who have exhibited an artistic skill and general æsthetic love and taste that would be creditable to many of those who have enjoyed far greater advantages for culture.
I shall now proceed to mention the names of only a few of such persons residing in some of the principal towns and cities of the South. The list could be largely extended did time and space permit.
Baltimore, Md., has quite a number of musical people well worthy of mention in this connection. The following are members of the choir of St. Mary's Episcopal Church, of which the Rev. C.B. Perry is rector:—
Mr. H.C. Bishop, general director;Mr. W.H. Bishop, precentor;J. Hopkins Johns(who has a very pleasing voice);Mr. J. Taylor(a fine basso, who has been a member of a meritorious concert-troupe);Mr. C.A. Johnson, organist; andMr. George Barrett, tenor. Mr. Johnson has on several occasions been the director of excellent public concerts in Baltimore and its vicinity, and is deserving of much praise for his activity in promoting the music-loving spirit. The same may be said of Mr. George Barrett.
Mr. Joseph Ockmeyis organist of the Bethel (Methodist) Church.
The following are members of the Sharp-street Church choir:—
Mr. Simpson, leader;Mr. Dongee, organist;Miss Mary F. Kelly, soprano;Miss Emma Burgess, soprano.
Baltimore has an association of musicians called "The Monumental Cornet Band," of which Mr. C.A. Johnson is the efficient leader.
Some time ago I found in the musical column of "The Boston Herald" of Sunday, July 9, 1876, the following notice of another "Blind Tom:"—
"A rival of 'Blind Tom' has been found at Blount Springs, Ala., in the person of James Harden, a colored boy from Baltimore. He plays the guitar, and sings the most difficult music, exceptionally well; and is also something of a composer. He has received no instruction, but is most emphatically a natural-born musician."
"A rival of 'Blind Tom' has been found at Blount Springs, Ala., in the person of James Harden, a colored boy from Baltimore. He plays the guitar, and sings the most difficult music, exceptionally well; and is also something of a composer. He has received no instruction, but is most emphatically a natural-born musician."
Louisville, Ky., shows its appreciation of music by organizing a society devoted to the latter, numbering over a hundred persons. This fact has attracted the attention of Brainard's "Musical World," which journal, in the number for October, 1877, alludes to it as a bright evidence of the dawn of better times in the South.
In St. Louis[17]liveMrs. Georgetta CoxandMiss Nellie Banks,—two ladies who have won golden opinions for their exhibition of fine musical qualities. They are both excellent vocalists and pianists.
Mr. L.W. Hendersonas a vocalist,Mr. Alfred WhiteandMr. Samuel Butleras vocalists and instrumentalists, all possess artistic abilities of a fine order.
Miss Johnsonhas attracted the attention and won the high praise of competent judges for her proficiency in piano-forte performance.
Mr. James P. Thomasis a finished violinist.
With such artists as the above mentioned, and others whose names I have not learned, it will be seen that the city of St. Louis is not behind in musical culture.
Helena, Ark., is fortunate in numbering among its citizensGeorge H.W. Stewart,—a gentleman of rare musical and general culture. He was, I think, educated in Indiana, and received a diploma as a graduate from a college of music located at Indianapolis. Mr. Stewart's specialty as a performer is the piano, with which instrument he finely interprets the best music of the masters.He has also a soft yet powerful baritone-voice; and, as a singer, he has often delighted private and public audiences.
Miss Annie S. Wrightof Memphis, Tenn., has few equals in that State as a ready reader of music, or in the feeling and expression with which she awakes the echoes of the piano-forte.
In Memphis there are several others possessing good ability as instrumentalists.
No fears need be entertained that Nashville, Tenn., will not keep pace with the advance of other cities in musical culture. The famous Jubilee Singers of Fisk University, located near Nashville, may well be mentioned here as noble representatives of that city, and as those whose splendid example and achievements as singers will always serve as a stimulus to the cultivation of music by their towns-people.
I mention here with much pleasure theLord familyof Charleston, S.C. The father was a musician of good ability, a pleasing performer on the cornet and (I think) one or two other instruments, and was leader of an orchestra. He early gave his two daughters instruction in music.
I recall with much interest a visit I made this accomplished family early in 1865, when the regiment with which I was connected lay encamped near Charleston. On this occasion, after our indulgence in conversation touching the war, &c., I begged that I might be favored with some music. The request was readily complied with, the father and daughters uniting in a performance of several very pleasing selections.
Other members of my regiment, I know, also retain very pleasant recollections of the Lord family, not onlyon account of the charming musical qualities of the latter, but also on account of their winning courtesy to the Union soldiers. One of these was so far captivated (it could not have been by the music alone) by the elder daughter, as to invite her to adorn as his bride a home of his own. Our gallant Sergeant White was accepted; and the lady has since shared with him the enjoyment of many honors which his fine abilities have won for him in the "sunny South."
Mr. Lord died a few years ago. His example in inculcating in his children a love for the elevating art of music cannot be too strongly recommended for the imitation of all heads of families who desire to form at their firesides such sources of interest, refinement, and pleasure, as will cause their children to prefer them, as they ever should, to all places not comprised in the sacred name of "home."
In making this brief survey, another locality of the South is now approached, which is so rich in musical culture as to occasion (at least to the writer) delightful surprise, and warrant special mention of the circumstances connected with the same. I refer to the city of New Orleans, which will be treated in the next chapter.
BEFORE the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris—which has ever been to its enamoured citizens not only all France, but all the world—became for France the centre.
Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtlyménestrels, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas,—first to Canada, and then toLouisiana,—the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French "Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, together with certain forms of divine worship observed by a large number of them,—all this served for a long time to remind one of the magnificent capital of France.
The opera, with its ravishing music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors,—all so well calculated to charm a people of luxurious tastes,—has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there: such persons, pursuing their studies, not with a pecuniary view (being in easy circumstances), but simply from a love of music, have ever found congenial association in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate circumstances to seek support in discoursing it to others,—these have always found ready and substantial recognition in this music-loving city.
But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others?Strange to say, it does. Natural lovers of the "art divine," and naturally capable of musical expression,—they too, although with far less of advantages for culture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago "The New-Orleans Picayune" testified to their superior taste for and appreciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties ofabjectservitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, wereallowedto acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions; many of their sons and daughters attaining to a surpassing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman.
Again: there was another portion of this same race, who, in the circumstances of their situation, were far less fortunate than even those of whom I have just been speaking: I mean those who were directly under the "iron heel of oppression." Nevertheless, many of these were so moved by a spirit of art-love, and were so ardent and determined, as to have acquired a scientificknowledge of music, and to have even excelled, strange to say, in its creation and performance, in spite of all difficulties. As to just how a thing so remarkable, nay, I may say wonderful, was accomplished, would form many a story of most intense and romantic interest. But with present limits I may not narrate the many instances of heroic struggle against the foul spirit of caste prejudice, and the many noble triumphs over the same, that belong to the lives of nearly if not quite all of the artists of whom I shall presently briefly speak.
And here it is utterly impossible to resist the depressing effects of that deep feeling of gloom which settles upon one as thoughts like the following crowd into the mind. How much, how very much, has been lost to art in this country through that fell spirit which for more than two hundred years has animated the majority of its people against a struggling and an unoffending minority,—a spirit which ever sought to crush out talent, to quench the sacred fire of genius, and to crowd down all noble aspirations, whenever these evidences of a high manhood were shown by those whose skins were black! Ah! we may never know how much of grandeur of achievement, the results of which the country might now be enjoying, had not those restless, aspiring minds been fettered by all that was the echo of a terrible voice, which, putting to an ignoble use the holy words of Divinity, cried up and down the land unceasingly, "Hitherto shalt thou come, but no farther!" For to judge as to what "might have been," and what yet may be, despite the cruelties of the past (since, even in this instance, "the best prophet of the future is the past"), we have only to look at what is. But from those bitter days of a barbarous time, whenhearts were oft bowed in anguish, when tears of blood were wept, and when often attempts were made to dwarf yearning intellect to a beastly level,—let us turn quickly our weeping eyes from those terrible days, now gone, we hope never again to return, towards that brighter prospect which opens before our delighted vision: let us joyfully look upon what is, and think of what may be. For
Returning, then, directly to the subject in hand (viz., the colored musical artists of New Orleans), I first quote from a paper prepared by a cultured gentleman of that city, himself a fine musician, the following retrospective comment on some of the former residents there:—
"For want of avenues in which to work their way in life, and for many reasons which are easily understood, our best artists [colored] removed to other countries in search of their rights, and of proper channels in which to achieve success in the world. Among these were Eugène Warburg, since distinguished in Italy as a sculptor; Victor Séjour, in Paris, as a poet, and composer of tragedy; Caraby, in France, as a lawyer; Dubuclet, in Bordeaux, as a physician and musician; and many others." All these were forced to leave New Orleans, their native city, because of the prejudice that prevailed against them on account of their color. In other countries, which Americans have been wont to style, forsooth, "despotic," these aspiring men found ready recognition, and arose, as has been seen, to high distinction in their chosen callings.
Of a few others who for these same reasons left theirnative city and went abroad, as well as of a large number of talented, educated musical people who remained in New Orleans, I shall now speak.
The Lambert family, consisting of seven persons, presents the remarkable instance of each of its members possessing great musical talent, supplemented by most careful cultivation.
Richard Lambert, the father, has long been highly esteemed as a teacher of music. Many of his pupils have attained to a fine degree of proficiency as performers of music, and some of them are to-day composers.
Lucien Lambert, very early in life, attracted attention by his ardent devotion to the study of music. He used to give six hours of each day to practice, and became a pianist of rare ability. With a style of performance really exquisite, he has always excited the admiration, and sometimes the wonder, of his auditors, by easy triumphs over all piano difficulties. But his genius and ambition were such, that mere performance of the music of others did not long satisfy him. He became a composer of great merit. A man of high soul, he also, ere long, grew restive under the restraints, that, on account of his complexion, were thrown around him in New Orleans. He longed to breathe the air of a free country, where he might have an equal chance with all others to develop his powers: and so, after a while, he went to France; and, continuing his studies in Paris under the best masters of the art, he rapidly attained to great skill in performance and in composition. He finally went to Brazil, where he now resides, being engaged in the manufacture of pianos. He is about fifty years of age, a gentleman of imposing appearance.Lucien Lambert has written much music. Below is given the titles of only a very small number of his compositions:—
"La Juive;" "Le Départ du Conscrit" (fantasie march); "Les Ombres Aimées;" "La Brésiliana;" "Paris Vienne;" "Le Niagara;" "Au Clair de la Lune," with variations; "Ah! vous disais-je, Maman;" "L'Américaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches et Clochettes;" "Étude Mazurka."[18]
Sidney Lambert, stimulated by the instruction and good fame of his father and the high reputation gained by his brother Lucien, and himself possessing rich natural powers, soon became conspicuous for brilliant execution on the piano-forte, and as a composer of music for that and other instruments. He has also written a method for the piano, the merits of which are such as to cause him to be lately decorated for the same by the King of Portugal. He is now a professor of music in Paris, France. Here is a partial list of pieces composed and arranged by him:—
"Si j'étais Roi;" "Murmures du Soir;" "L'Africaine;" "Anna Bolena;" "La Sonnambula;" "L'Élisire;" "Transports Joyeux;" "Les Cloches."
Mr. E. Lambertis the very efficient leader and instructor of the St. Bernard Brass Band. He is a line musician, performing with much skill on several instruments.
John Lambert, only sixteen years of age, is already regarded as an excellent musical artist. He was educated in St. Joseph School, New Orleans. He seems almost a master of his principal instrument, the cornet, playing with ease the most difficult music written for the same. He is a member of the St. Bernard Band,—a very valuable member too, since he can play a variety of instruments.
The two Misses Lambertare accomplished pianists. One of them is an excellent teacher.
Edmund Dédéwas born in New Orleans in the year 1829. He learned first the clarinet, and became a good player. He afterwards took up the violin for study, under the direction of C. Deburque, a colored gentleman. After a while he took lessons of Mr. L. Gabici, who was at one time chief of the orchestra of the St. Charles Theatre. Dédé was a cigar-maker by trade. Being of very good habits, and economical, he accumulated enough money after a while to pay for a passage to France, where, on his arrival in 1857, he received a welcome worthy of a great people and of so fine an artist. He is very popular, not only as a violinist, but as a man, being of fine appearance, of amiable disposition, and very polite and agreeable in his manners. While a student in New Orleans, many were they who seemed never to grow tired in listening to his peculiarly fine playing of the studies of Kreutzer andthe "Seventh Air Varié de Beriot." He is considered alike remarkable in his perfect making of the staccato and the legato; is very ardent in his play, throwing his whole soul into it; and meets with no difficulties that he does not easily overcome. Mr. Dédé is now director of the orchestra of "L'Alcazar," in Bordeaux, France. He is of unmixed negro blood, and is married to a beautiful and accomplished French lady.
The titles of only a very few of the works composed by Edmund Dédé can now be given. They are as follows: "LeSementde l'Arabe," "Vaillant Belle Rose Quadrille" (this it was called originally; but I believe the piece has been published under another name), "Le Palmier Overture."
BasileBarèswas born in New Orleans Jan. 2, 1846, and is what may be called a self-made man. He to-day enjoys a fine reputation as a pianist and composer. His studies on the piano were begun under Eugène Prévost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Barès studied harmony and composition under Master Pedigram. In 1867 he visited the Paris Exposition, at which he remained four months, giving many performances upon the piano-forte. Mr. Barès resides in New Orleans. I append this partial list of his works: "La Capricieuse Valse," "Delphine Valse Brillante," "Les Variétés du Carnaval," "Les Violettes Valse," "La Créole" (march), "Élodia" (polka mazurka), "Merry Fifty Lancers," "Basile's Galop," "Les Cents Gardes" (valse), and "Minuit Polka de Salon."
Professor Samuel Snaer, a native of New Orleans, is in his forty-fourth year, and is a musician of remarkably fine powers. He is a brilliant pianist, and a mostskilful performer on the violin and violoncello. As a violoncellist he has but few equals anywhere. He is an esteemed teacher of violin and piano, and is organist at St. Mary's (Catholic) Church.
But Professor Snaer's musical abilities do not end with the accomplishments just mentioned. He is, besides, a ready composer, and has produced much music of a varied and very meritorious character. Extreme modesty, however, has prevented him from publishing many of his pieces. Generally his habit has been to sit down and compose a piece, and then allow the manuscript to go the rounds among his acquaintances. As he would make no request for its return, nor express solicitude regarding its fate, the music rarely returned to the composer; so that to-day the most unlikely place to find copies of his works is at the professor's own residence.
Professor Snaer has a memory of most wonderful power. When he was eighteen years old (that was twenty-six years ago), he composed his "Sous sa Fenêtre." Without having seen this music for many years, he can to-day write it out note for note. He remembers equally well each one of his many compositions, some of which have been of an elaborate and difficult character. He has lately rewritten from memory, for a gentleman in Boston, a great solemn mass which he composed several years ago. Those who are familiar with the original draught of this mass say that the present one is its exact counterpart.
The following comprises in part a list of the works of Professor Snaer:—