"THE COLORED OPERA-COMPANY."This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled 'The Doctor of Alcantara,' which was excellently rendered."Miss Lena Miller, who sang therôleof 'Isabella,' is young and graceful, with a pleasing voice; and her part was well given. Mrs. A.G. Smallwood was cast as 'Donna Lucrezia,' and had considerable to do. She sings well, and her acting far exceeds that of anyother member of the company. 'Inez,' a maid represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as 'Dr. Paracelsus,' although a little stiff, fairly performed his part."The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpassed by the finest chorus in the best companies."
"THE COLORED OPERA-COMPANY.
"This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled 'The Doctor of Alcantara,' which was excellently rendered.
"Miss Lena Miller, who sang therôleof 'Isabella,' is young and graceful, with a pleasing voice; and her part was well given. Mrs. A.G. Smallwood was cast as 'Donna Lucrezia,' and had considerable to do. She sings well, and her acting far exceeds that of anyother member of the company. 'Inez,' a maid represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as 'Dr. Paracelsus,' although a little stiff, fairly performed his part.
"The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpassed by the finest chorus in the best companies."
From "The Philadelphia Evening Star," Feb. 22, 1873:—
"COLORED AMERICAN OPERA-COMPANY."This company made its first appearance last evening at Horticultural Hall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake.... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any performances of the same opera ever given in this city by any of the foreign or 'grand English' opera-troupes.[16]The cast of the colored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, a very easy lyric and dramatic method, and a carriage of unusual grace; Miss Lena Miller, whose voice, though less powerful, is very pleasant, and whose acting was notable for its unaffected style; Miss M.A.C. Coakley, a mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose tenor-voice has good power, range, and quality; Mr. T.H. Williams, who possesses a deep bass-voice, controlled with a fair degree of culture; and Messrs. W.T. Benjamin and Smallwood, who filled their parts not unacceptably."
"COLORED AMERICAN OPERA-COMPANY.
"This company made its first appearance last evening at Horticultural Hall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake.... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any performances of the same opera ever given in this city by any of the foreign or 'grand English' opera-troupes.[16]The cast of the colored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, a very easy lyric and dramatic method, and a carriage of unusual grace; Miss Lena Miller, whose voice, though less powerful, is very pleasant, and whose acting was notable for its unaffected style; Miss M.A.C. Coakley, a mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose tenor-voice has good power, range, and quality; Mr. T.H. Williams, who possesses a deep bass-voice, controlled with a fair degree of culture; and Messrs. W.T. Benjamin and Smallwood, who filled their parts not unacceptably."
From "The Age," Philadelphia, Feb. 22, 1873:—
"The colored opera-troupe gave their first performance in Philadelphia last night in Horticultural Hall. The selection for theirdébutwas 'The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in itsensembleas by this company."There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including thefinaleof the first act, which revealed to us a choral effect which has never been heard upon the operatic stage in our country since the palmy days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to all appearances, there was no 'dead wood' among them. It must be understood, besides, thatallthe music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation."Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they will make a most favorable impression."
"The colored opera-troupe gave their first performance in Philadelphia last night in Horticultural Hall. The selection for theirdébutwas 'The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in itsensembleas by this company.
"There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including thefinaleof the first act, which revealed to us a choral effect which has never been heard upon the operatic stage in our country since the palmy days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to all appearances, there was no 'dead wood' among them. It must be understood, besides, thatallthe music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation.
"Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they will make a most favorable impression."
From "The Philadelphia Evening Bulletin," Feb. 22, 1873:—
"A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, 'The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power; and she uses it with very great effect. She sang the music with correctness and precision, and played her part capitally."The tenor and bass are both excellent; but, while they display fine voices, they show a want of high training. This is also the single defect of the two subordinate female voices of the company."The chorus was very fine indeed; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last."
"A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, 'The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power; and she uses it with very great effect. She sang the music with correctness and precision, and played her part capitally.
"The tenor and bass are both excellent; but, while they display fine voices, they show a want of high training. This is also the single defect of the two subordinate female voices of the company.
"The chorus was very fine indeed; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last."
From the Washington correspondent of "The Vineland (N.J.) Weekly," February, 1873:—
"On Tuesday evening it was the good fortune of your correspondent to attend the opera rendered by the 'Colored American Opera Company,' of which I spoke in my last."To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race arenaturalmusicians; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak."As for the chorus, it is not saying any thing extravagant when I make the assertion, that it has never been excelled by that of any of the professional opera-troupes which have visited this city."
"On Tuesday evening it was the good fortune of your correspondent to attend the opera rendered by the 'Colored American Opera Company,' of which I spoke in my last.
"To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race arenaturalmusicians; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak.
"As for the chorus, it is not saying any thing extravagant when I make the assertion, that it has never been excelled by that of any of the professional opera-troupes which have visited this city."
The comments just given, taken, as it may be seen they are, from the principal journals of Washington and Philadelphia, without regard to party bias, would be of little value here, were it not for the vein of candor that runs through them all. In them the writers have tempered very high praise with the faithful pointing-out of such defects as to them appeared in the performances. This is the spirit of true criticism, which, while it ever eagerly seeks to discover all the merits of a performance, fails not also to note, in the interest of true progress, all its errors. Praise, then, from such a source, is praise indeed. Moreover, it is not pretended that our little troupe of amateurs presented aperfectperformance. Others of longer experience and of far more pretentious character had not done this. Nor was or is such a thing possible; for, as Pope says in his "Essay on Criticism,"
But, allowing for such errors as caught the sharp eye and ear of the critic (it is seen that these errors were but trifling in number and character), the series of operatic representations under consideration was a fine, a brilliant success.
For the happy conception and successful carrying-out of the idea of presenting to the public a rendition of opera by musicians of the colored race, words too high in praise of these ambitiouspioneersof Washington cannot be spoken. Never before had there beenan attempt by persons of their race to enter, as the equals of others, the exacting domain of the music drama. The performances, although few in number, were of such a highly-pleasing description, and the movement was withal so entirely novel, as to render it a somewhat startling and a most delightfulrevelation.
Mingled with the feelings of just pride that many persons experience when reflecting upon the grand musical and dramatic success achieved by these artists, ever and anon arise those of regret,—regret that they did not longer continue their charming performances, extending the same to other cities besides those mentioned. It is therefore earnestly hoped that ere long they will again appear. It is hoped that even now they are devoting themselves to rigid study, and to the arrangement of matters of detail; and that, guided by past valuable experience, they will soon give representations of opera in a style even exceeding in finish that which characterized those which they formerly gave.
As theavants-courrièresin art of those of their race, whom, let us hope, a fast-approaching day of better opportunities shall make plentiful enough; holding as they do their torches in the remaining darkness, to light the pathway of those that shall follow them into the bright, the delightful realms of the operatic Muse,—theirs is therefore a beneficent, a noble mission, the continuance of which promises the happiest results for all concerned.
"If, in brief, we might give a faint idea of what it is utterly impossible to depict, we would adopt three words,—soft, sweet, simple.""The Jubilee Singers:" London Rock.
"If, in brief, we might give a faint idea of what it is utterly impossible to depict, we would adopt three words,—soft, sweet, simple."
"The Jubilee Singers:" London Rock.
THE dark cloud of human slavery, which for over two hundred weary years had hung, incubus-like, over the American nation, had happily passed away. The bright sunshine of emancipation's glorious day shone over a race at last providentially rescued from the worst fate recorded in all the world's dark history. Up out of the house of bondage, where had reigned the most terrible wrongs, where had been stifled the higher aspirations of manhood, where genius had been crushed, nay, more, where attempts had been made to annihilate even all human instincts,—from this accursing region, this charnel-house of human woe, came the latter-day children of Israel, the American freedmen.
How much like the ancient story was their history! The American nation, Pharaoh-like, had long and steadily refused to obey the voice of Him who said, between every returning plague, "Let my people go;" and, after long waiting, he sent the avenging scourge of civil strife tocompelobedience. The great war of the Rebellion (it should be called the war of retribution), with its stream of human blood, became the Red Sea through which these long-suffering ones, with aching, trembling limbs, with hearts possessed half with fear and half with hope hitherto so long deferred, passed into the "promised land" of blessed liberty.
Slavery, then, ended, the first duty was to repair as far as possible its immense devastations made upon the minds of those who had so long been its victims. The freedmen were to be educated, and fitted for the enjoyment of their new positions.
In this place I may not do more than merely touch upon the beneficent work of those noble men and women who at the close of the late war quickly sped to the South, and there, as teachers of the freedmen, suffered the greatest hardships, and risked imminent death from the hands of those who opposed the new order of things; nay, many of them actually met violent death while carrying through that long-benighted land the torch of learning. Not now can we more than half appreciate the grandeur of their Heaven-inspired work. In after-times the historian, the orator, and the poet shall find in their heroic deeds themes for the most elevated discourse, while the then generally cultured survivors of a race for whose elevation these true-hearted educators did so much will gratefully hallow their memories.
Among the organizations (I cannot mention individual names: their number is too great) that early sought to build up the waste places of the South, and to carry there a higher religion and a much-needed education, was the American Missionary Association. This society has led all others in this greatly benevolent work, having reared no less than seven colleges and normal schools in various centres of the South. The work of education to be done there is vast, certainly; but what a very flood of light will these institutions throw over that land so long involved in moral and intellectual darkness!
The principal one of these schools is Fisk University, located at Nashville, Tenn.; the mention of which brings us to the immediate consideration of the famous "Jubilee Singers," and to perhaps the most picturesque achievement in all our history since the war. Indeed, I do not believe that anywhere in the history of the world can there be found an achievement like that made by these singers; for the institution just named, which has cost thus far nearly a hundred thousand dollars, has been built by the money which these former bond-people have earned since 1871 in an American and European campaign of song.
But what was the germ from which grew this remarkable concert-tour, and its splendid sequence, the noble Fisk University?
Shortly after the close of the war, a number of philanthropic persons from the North gathered into an old government-building that had been used for storage purposes, a number of freed children and some grownpersons living in and near Nashville, and formed a school. This school, at first under the direction of Professor Ogden, was ere long taken under the care of the American Missionary Association. The number of pupils rapidly increasing, it was soon found that better facilities for instruction were required. It was therefore decided to take steps to erect a better, a more permanent building than the one then occupied. Just how this was to be done, was, for a while, quite a knotty problem with this enterprising little band of teachers. Its solution was attempted finally by one of their number, Mr. George L. White, in this wise: He had often been struck with the charming melody of the "slave songs" that he had heard sung by the children of the school; had, moreover, been the director of several concerts given by them with much musical and financial success at Nashville and vicinity. Believing that these songs, so peculiarly beautiful and heart-touching, sung as they were by these scholars with such naturalness of manner and sweetness of voice, would fall with delightful novelty upon Northern ears, Mr. White conceived the idea of taking a company of the students on a concert-tour over the country, in order to thus obtain sufficient funds to build a college. This was a bold idea, seemingly visionary; but the sequel proved that it was a most practical one.
All arrangements were completed; and the Jubilee Singers, as they were called, left Nashville in the fall of 1871 for a concert-tour of the Northern States, to accomplish the worthy object just mentioned. Professor White, who was an educated and skilful musician, accompanied them as musical director. Mr. TheodoreF. Seward, also of fine musical ability, was, after a while, associated in like capacity with the singers. The following are the names of those who at one time and another, since the date of organization, have been members of the Jubilee choir:—
This list might well be called theRoll of Honor.
I have not space to follow in detail this ambitious band of singers in their remarkable career throughout this country and in Great Britain. The wonderful story of their journey of song is fully and graphically told in a book (which I advise all to read) written by Mr. G.D. Pike, and published in 1873. A brief survey of this journey must here suffice.
The songs they sang were generally of a religious character,—"slavespirituals,"—and such as have been sung by the American bondmen in the cruel days of the past. These had originated with the slave; had sprung spontaneously, so to speak, from souls naturally musical; and formed, as one eminent writer puts it, "the only native American music."
The strange, weird melody of these songs, which burst upon the Northern States, and parts of Europe, as a revelation in vocal music, as a music most thrillingly sweet and soul-touching, sprang then, strange to say,from a state of slavery; and the habitually minor character of its tones may well be ascribed to the depression of feeling, the anguish, that must ever fill the hearts of those who are forced to lead a life so fraught with woe. This is clearly exemplified, and the sad story of this musical race is comprehensively told, in Ps. cxxxvii.:—
"By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion."We hanged our harps upon the willows in the midst thereof."For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion."How shall we sing the Lord's song in a strange land?"
"By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
"We hanged our harps upon the willows in the midst thereof.
"For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.
"How shall we sing the Lord's song in a strange land?"
And yet, ever patient, ever hopeful of final deliverance, they did sing on and on, until at last the joyful day of freedom dawned upon them.
To render these songs essentially as they had been rendered in slave-land came the Jubilee Singers. They visited most of the cities and large towns of the North, everywhere drawing large and often overwhelming audiences, creating an enthusiasm among the people rarely ever before equalled. The cultured and the uncultured were alike charmed and melted to tears as they listened with a new enthusiasm to what was a wonderfully new exhibition of the greatness of song-power. Many persons, it is true, were at first attracted to the concert-hall by motives of mere curiosity, hardly believing, as they went, that there could be much to enjoy. These, however, once under the influence of the singers, soon found themselves yielding fully to the enchanting beauty of the music; and they would come away saying the half had not been told. Themusical critics, like all others in the audiences, were so lost in admiration, that they forgot to criticise; and, after recovering from what seemed a trance of delight, they could only say that this "music of the heart" was beyond the touch of criticism.
I have spoken of the origin and the character of these songs. Those who so charmingly interpreted them deserve most particular notice. The rendering of the Jubilee Singers, it is true, was not always strictly in accordance with artistic forms. The songs did not require this; for they possessed in themselves a peculiar power, a plaintive, emotional beauty, and other characteristics which seemed entirely independent of artistic embellishment. These characteristics were, with a most refreshing originality, naturalness, and soulfulness of voice and method, fully developed by the singers, who sang with all their might, yet with most pleasing sweetness of tone.
But, as regards the judgment passed upon this "Jubilee melody" from a high musical stand-point, I quote from a very good authority; viz., Theo. F. Seward of Orange, N.J.:—
"It is certain that the critic stands completely disarmed in their presence. He must not only recognize their immense power over audiences which include many people of the highest culture, but, if he be not entirely incased in prejudice, he must yield a tribute of admiration on his own part, and acknowledge that these songs touch a chord which the most consummate art fails to reach. Something of this result is doubtless due to the singers as well as to their melodies. The excellent rendering of the Jubilee Band is made more effective, and the interest is intensified, by the comparison of their former state of slavery and degradation with the present prospects and hopes of their race, which crowd upon every listener's mind during the singing of their songs; yet the power is chiefly in the songs themselves."
"It is certain that the critic stands completely disarmed in their presence. He must not only recognize their immense power over audiences which include many people of the highest culture, but, if he be not entirely incased in prejudice, he must yield a tribute of admiration on his own part, and acknowledge that these songs touch a chord which the most consummate art fails to reach. Something of this result is doubtless due to the singers as well as to their melodies. The excellent rendering of the Jubilee Band is made more effective, and the interest is intensified, by the comparison of their former state of slavery and degradation with the present prospects and hopes of their race, which crowd upon every listener's mind during the singing of their songs; yet the power is chiefly in the songs themselves."
It would not do, of course, to assume that to the almost matchless beauty of the songs and their rendering was due alone the intense interest that centred in these singers. They were on anoble mission. They sang to build up education in the blighted land in which they themselves and millions more had so long drearily plodded in ignorance; and it was a most striking and yet pleasing exhibition of poetic justice, when many of those who really, in a certain sense, had been parties to their enslavement, were forced to pay tribute to the signs of genius found in this native music, and to contribute money for the cause represented by these delightful musicians.
But I must not give only my own opinion of these singers, as I am supposed to be a partial witness. Many, many others, among whom are the most talented and cultured of this country and England, have spoken of them in terms the most laudatory. Some of these shall now more than confirm my words of praise.
The Rev. Theodore L. Cuyler of Brooklyn, writing in January, 1872, to "The New-York Tribune," thus spoke of them:—
"When the Rev. Mr. Chalmers (the younger) visited this country as the delegate of the Scotch Presbyterian General Assembly, he went home and reported to his countrymen that he had 'found the ideal church in America: it was made up of Methodist praying, Presbyterian preaching, and Southern negro-singing.' The Scotchman would have been confirmed in his opinion if he had been in Lafayette-avenue Church last night, and heard the Jubilee Singers,—a company of colored students, male and female, from Fisk University of Freedmen, Nashville, Tenn. In Mr. Beecher's church they delighted a vast throng of auditors, and another equally packed audience greeted them last evening."I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism of music before. The wild melodiesof these emancipated slaves touched the fount of tears, and gray-haired men wept like children...."The harmony of these children of nature, and their musical execution, were beyond the reach of art. Their wonderful skill was put to the severest test when they attempted 'Home, Sweet Home,' before auditors who had heard these same household words from the lips of Jenny Lind and Parepa; yet these emancipated bondwomen, now that they knew what the word 'home' signifies, rendered that dear old song with a power and pathos never surpassed."Allow me to bespeak through your journal ... a universal welcome through the North for these living representatives of the only true native school of American music. We have long enough had its coarse caricature in corked faces: our people can now listen to the genuine soul-music of the slave-cabins before the Lord led his 'children out of the land of Egypt, out of the house of bondage.'"
"When the Rev. Mr. Chalmers (the younger) visited this country as the delegate of the Scotch Presbyterian General Assembly, he went home and reported to his countrymen that he had 'found the ideal church in America: it was made up of Methodist praying, Presbyterian preaching, and Southern negro-singing.' The Scotchman would have been confirmed in his opinion if he had been in Lafayette-avenue Church last night, and heard the Jubilee Singers,—a company of colored students, male and female, from Fisk University of Freedmen, Nashville, Tenn. In Mr. Beecher's church they delighted a vast throng of auditors, and another equally packed audience greeted them last evening.
"I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism of music before. The wild melodiesof these emancipated slaves touched the fount of tears, and gray-haired men wept like children....
"The harmony of these children of nature, and their musical execution, were beyond the reach of art. Their wonderful skill was put to the severest test when they attempted 'Home, Sweet Home,' before auditors who had heard these same household words from the lips of Jenny Lind and Parepa; yet these emancipated bondwomen, now that they knew what the word 'home' signifies, rendered that dear old song with a power and pathos never surpassed.
"Allow me to bespeak through your journal ... a universal welcome through the North for these living representatives of the only true native school of American music. We have long enough had its coarse caricature in corked faces: our people can now listen to the genuine soul-music of the slave-cabins before the Lord led his 'children out of the land of Egypt, out of the house of bondage.'"
The welcome thus eloquently bespoken for the singers was enthusiastically extended to them all over the North. The journals of the day fairly teemed with praises of them; and often, in the larger cities, hundreds of persons were turned away from the concert-hall, unable to obtain admittance, so great was the rush.
After a while they visited England, where they sang before the Queen and others of the nobility, everywhere repeating the triumphs that had been theirs in this country. In fact, it was proved that their power as singers held sway wherever they sang; wherever was found a soul in unison with melodious sound, a heart capable of human emotion. It was not so much the words of their songs—these, it is true, were not without merit in a religious sense—as the strangely pathetic and delightful melody of their music, and the freshness and heartiness of the rendering, that gave them their greatest charm. This has since been most pointedlydemonstrated in Holland and Switzerland, where these singers have drawn crowded and delighted audiences that neither speak nor understand a word of English: such is the beautiful, far-reaching power of this, in the truest sense, "music of the heart."
I now present a few of the many tributes of admiration which their performances drew from cultured English people. Thus spoke Mr. Colin Brown, Ewing Lecturer on Music, Andersonian University, Glasgow:—
"As to the manner of their singing, it must be heard before it can be realized. Like the Swedish melodies of Jenny Lind, it gives a new musical idea. It has been well remarked, that in some respects it disarms criticism; in others it may be truly said that it almost defies it. It was beautifully described by a simple Highland girl: 'It filled my whole heart.'"Such singing (in which the artistic is lost in the natural) can only be the result of the most careful training. The richness and purity of tone both in melody and harmony, the contrast of light and shade, the varieties and grandeur in expression, and the exquisite refinement of thepianoas contrasted with the power of theforte, fill us with delight, and at the same time make us feel how strange it is that these unpretending singers should come over here to teach us what is the true refinement of music; make us feel its moral and religious power."
"As to the manner of their singing, it must be heard before it can be realized. Like the Swedish melodies of Jenny Lind, it gives a new musical idea. It has been well remarked, that in some respects it disarms criticism; in others it may be truly said that it almost defies it. It was beautifully described by a simple Highland girl: 'It filled my whole heart.'
"Such singing (in which the artistic is lost in the natural) can only be the result of the most careful training. The richness and purity of tone both in melody and harmony, the contrast of light and shade, the varieties and grandeur in expression, and the exquisite refinement of thepianoas contrasted with the power of theforte, fill us with delight, and at the same time make us feel how strange it is that these unpretending singers should come over here to teach us what is the true refinement of music; make us feel its moral and religious power."
Others spoke as follows:—
"I never so enjoyed music."—Rev. C.H. Spurgeon."They have beautiful voices."—London Graphic."Their voices are clear, rich, and highly cultivated."—London Daily News."This troupe sing with a pathos, a harmony, and an expression, which are quite touching."—London Journal."There is something inexpressibly touching in their wonderfully sweet, round, bell voices."—Rev. George MacDonald.
"I never so enjoyed music."—Rev. C.H. Spurgeon.
"They have beautiful voices."—London Graphic.
"Their voices are clear, rich, and highly cultivated."—London Daily News.
"This troupe sing with a pathos, a harmony, and an expression, which are quite touching."—London Journal.
"There is something inexpressibly touching in their wonderfully sweet, round, bell voices."—Rev. George MacDonald.
Mr. Gladstone, while prime-minister of England, honored them with a complimentary breakfast, and listened to their songs, as Newman Hall writes, "with rapt, enthusiastic attention, saying, 'Isn't it wonderful? I never heard any thing like it.'"
"We never saw an audience more riveted, nor a more thorough heart entertainment. Men of hoary hairs, as well as those younger in the assembly, were moved even to tears as they listened with rapt attention to some of the identical slave-songs which these emancipated ones rendered with a power and pathos perfectly indescribable."—London Rock.
"We never saw an audience more riveted, nor a more thorough heart entertainment. Men of hoary hairs, as well as those younger in the assembly, were moved even to tears as they listened with rapt attention to some of the identical slave-songs which these emancipated ones rendered with a power and pathos perfectly indescribable."—London Rock.
I might now, if it were necessary, fill many pages with the comments made upon these charming singers by the American press both before and after their trip to England; but these would only be repetitions of the laudatory notices just given. The following is quoted because it is descriptive of the improvement made by the singers. Said "The Boston Journal,"—
"The Jubilee Singers.—The students of Fisk University, Nashville, Tenn., whose sweet voices made such a popularity for the Jubilee Singers in this city two or three years ago, and won royal favor on the other side of the Atlantic, gave their first concert since their return at Tremont Temple last evening. The audience numbered some two thousand persons, and manifested an enthusiasm seldom witnessed at a concert in this city. From the initial to the finale of the programme the singers were applauded and encored, and now and then the enthusiasm broke forth in the interludes. So many thousands have listened with delight to the full, rich voices of the 'Jubilees,' and the sweet undertone which disarms criticism while it charms the popular ear, that it is needless to speak of them at length. The simple purity of the rendering of the Lord's Prayer, which initiated the programme, gave evidence that they had lost none of their natural grace and simplicity of expression by their tour across the water; and this was confirmed by the peculiar and plaintive melodies of the South-land in the days of slavery, which made up the major part of the programme. A few selections of more artistic composition were introduced, for the purpose of demonstrating, as they did most fully, that the studentshave been educated to an appreciation of the higher grades of vocalization. The great charm of these singers will, however, remain in the reproduction of the melodies of an era that has gone, happily never to return,—melodies which were the natural expression of the fancies and sympathies of an emotional race, and which no musical culture or refinement can ever render with the sweet simplicity and charming grace that flow from the lips of those to whom they are the native music."
"The Jubilee Singers.—The students of Fisk University, Nashville, Tenn., whose sweet voices made such a popularity for the Jubilee Singers in this city two or three years ago, and won royal favor on the other side of the Atlantic, gave their first concert since their return at Tremont Temple last evening. The audience numbered some two thousand persons, and manifested an enthusiasm seldom witnessed at a concert in this city. From the initial to the finale of the programme the singers were applauded and encored, and now and then the enthusiasm broke forth in the interludes. So many thousands have listened with delight to the full, rich voices of the 'Jubilees,' and the sweet undertone which disarms criticism while it charms the popular ear, that it is needless to speak of them at length. The simple purity of the rendering of the Lord's Prayer, which initiated the programme, gave evidence that they had lost none of their natural grace and simplicity of expression by their tour across the water; and this was confirmed by the peculiar and plaintive melodies of the South-land in the days of slavery, which made up the major part of the programme. A few selections of more artistic composition were introduced, for the purpose of demonstrating, as they did most fully, that the studentshave been educated to an appreciation of the higher grades of vocalization. The great charm of these singers will, however, remain in the reproduction of the melodies of an era that has gone, happily never to return,—melodies which were the natural expression of the fancies and sympathies of an emotional race, and which no musical culture or refinement can ever render with the sweet simplicity and charming grace that flow from the lips of those to whom they are the native music."
"In the summer of 1874 they returned to Nashville, having given two seasons of concerts in this country, and one in Great Britain. The best evidence of the appreciative and enthusiastic welcome given them in both countries is the fact that the net result for Fisk University was over $90,000." The "problem" of the little band of faithful teachers had been nobly, gloriously solved. The old government-building in which they began their labors was soon discarded. To-day, on a beautiful, commanding site of twenty-five acres, with all the appliances of the best modern colleges, stands a noble building, forever dedicated to learning and to Christianity.
Fisk University
FISK UNIVERSITY, NASHVILLE, TENN.
Since the events whose record is just closed, it has been determined by the faculty of Fisk University to raise by other concert tours $100,000 as an endowment fund. At the present writing (June, 1877) the Jubilee Singers are making a tour of the Continent. They are now in Holland. Thus far their success continues unabated; and undoubtedly they will succeed in amply endowing the institution which, in a manner so praiseworthy and remarkable, they have erected. The following extract from a letter affords a pleasant glimpse at the European life of the singers:—
... "I will tell you something of our summer's experience. The company had passed through a hard year's work, and weregreatly in need of rest. A charming country-seat was rented in the suburbs of Geneva at a very reasonable rate, and the months of July and August were spent there with great benefit to all. The citizens were evidently astonished at this introduction of a new shade of humanity; and the singers seldom passed along the streets without hearing some remark about 'les nègres,' or 'les noirs.' But they were invariably treated with the greatest respect, and, in fact, were never once annoyed by a rabble in the streets, as they frequently are elsewhere, gathering around with a rude and impertinent curiosity."Among other pleasant experiences, there was an afternoon spent with Père Hyacinthe. We found him very genial and agreeable, and his American wife no less so. He speaks no English at all, but Madame acted as interpreter; and there was none of the stiffness or awkwardness that might have been expected under the circumstances."... The most notable event of our stay at Geneva was a concert given, just before leaving, in the Salle de la Réformation. It had been a question of much interest, as to whether the slave-songs would retain any thing of their power where the words were not understood. The result was a new triumph for those mysterious melodies, showing that the language of nature is universal, and that emotion is capable of expressing itself without the intervention of words. The hall was packed to its utmost capacity, and the enthusiasm at fever-heat. When asked how they could enjoy the songs so much when they knew nothing of the sentiment that was conveyed, the reply was, 'We cannotunderstandthem; but we canfeelthem.' Père Hyacinthe presided at the concert as chairman, and evidently enjoyed it as keenly as the rest of the vast audience."
... "I will tell you something of our summer's experience. The company had passed through a hard year's work, and weregreatly in need of rest. A charming country-seat was rented in the suburbs of Geneva at a very reasonable rate, and the months of July and August were spent there with great benefit to all. The citizens were evidently astonished at this introduction of a new shade of humanity; and the singers seldom passed along the streets without hearing some remark about 'les nègres,' or 'les noirs.' But they were invariably treated with the greatest respect, and, in fact, were never once annoyed by a rabble in the streets, as they frequently are elsewhere, gathering around with a rude and impertinent curiosity.
"Among other pleasant experiences, there was an afternoon spent with Père Hyacinthe. We found him very genial and agreeable, and his American wife no less so. He speaks no English at all, but Madame acted as interpreter; and there was none of the stiffness or awkwardness that might have been expected under the circumstances.
"... The most notable event of our stay at Geneva was a concert given, just before leaving, in the Salle de la Réformation. It had been a question of much interest, as to whether the slave-songs would retain any thing of their power where the words were not understood. The result was a new triumph for those mysterious melodies, showing that the language of nature is universal, and that emotion is capable of expressing itself without the intervention of words. The hall was packed to its utmost capacity, and the enthusiasm at fever-heat. When asked how they could enjoy the songs so much when they knew nothing of the sentiment that was conveyed, the reply was, 'We cannotunderstandthem; but we canfeelthem.' Père Hyacinthe presided at the concert as chairman, and evidently enjoyed it as keenly as the rest of the vast audience."
And now to discriminate; for the writer, while disclaiming all censorious or pretentious aim, yet, for reasons which may be readily understood and fully appreciated by the reader, intends this volume to inculcate the lessons of advancement by always attempting to honestly distinguish between that which is progressive in music and that which is the reverse. Have, then, these famous Jubilee Singers, who everywhere thrilled the hearts of their hearers, and whose charming melodyof voice, and style of rendition, "disarmed the critic,"—have they established by all this a model for the present and the future? In some respects they have; in others they have not. And is there to be no aim beyond the singing of "Jubilee songs"? Professors White and Seward and all these talented singers will say, I am quite sure, that there is to be a higher aim. The songs they sang were for the present, forming a delightful novelty, and serving a noble purpose. Still it must be sadly remembered that these Jubilee songs sprang from a former life of enforced degradation; and that, notwithstanding their great beauty of melody, and occasional words of elevated religious character, there was often in both melody and words what forcibly reminded the hearer of the unfortunate state just mentioned; and to the cultured, sensitive members of the race represented, these reminders were always of the most painful nature. And yet such persons could not have the heart to utter words of discouragement to an enterprise having an object so noble. They, like all others, could not but enjoy the rich melody and harmony of the wonderful Jubilee voices. They, too, often listened spell-bound; and when inclined, as at times they were, to murmur, the inspiriting voice of hope was heard bidding them to turn from a view of the dark and receding past to that of a rapidly-dawning day, whose coming should bring for these singers, and all others of their race, increase of opportunities, and therefore increase of culture.
On the foregoing pages but little has been said of the secular songs with which at times the troupe indulged their audiences. Even in music of this kind they were exceedingly pleasing; and it is very gratifying to reflect that the members of the company constantly aimed to obtain a scientific knowledge of general music. No fears need be entertained that the students of Fisk University will ever lack for instruction in music of the highest order, as ample provision is there made for the same. Of course the model of slave "spirituals" will in a short while give place to such music as befits the new order of things. The students themselves will wish to aim higher, as the spirit of true progress will demand it. Nevertheless, some of the characteristics displayed by the great Jubilee choir it will be well for them to ever retain, and for all other singers to imitate: I mean the heartiness, the soulfulness, of their style of rendition. Indeed, in their striking exhibitions of these latter qualities, I think they may justly claim the honor of standing quite peerless and alone, and of having presented a model for the present and the future,—a model founded on that power of the singer, which enables him to melt, to stir to its innermost recesses, the human heart; that power that enables him to sing as one inspired.
And here let me conclude by venturing a brief prediction. My mind goes a few years into the future. I attend a concert given by students or by graduates of Fisk University; I listen to music of the most classical order rendered in a manner that would satisfy the most exacting critic of the art; and at the same time I am pleasantly reminded of the famous "Jubilee Singers" of days in the past by the peculiarly thrilling sweetness of voice, and the charming simplicity and soulfulness of manner, that distinguish and add to the beauty of the rendering.
THE origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar.
Their accomplishments, especially in music, secured for them the readyentréeof the most refined society, particularly that of elegant ladies, of whom they were great favorites; while the most polished princes always extended them a warm welcome.
At one time in their history, the fate of letters was in the sole keeping of the troubadours. Had it not beenfor the frequent presentations and allusions made to literature in their songs, its chain, connecting past and present, would have been broken.
An elegant French writer, speaking of the ancient troubadours, observes, "They banished scholastic quarrels and ill-breeding, polished the manners, established rules of politeness, enlivened conversation, and purified gallantry. That urbanity that distinguishes us (the French) from other peoples is the fruit of their songs; and, if it is not from them that we derive our virtues, they at least taught us how to render them amiable."
I have thus briefly alluded to the early history and characteristics of the minstrel, because I consider such a course as just towards the present profession, and in order to show how sadly (in this country certainly) have its members deviated from the refined, the brilliant practices of their predecessors. Besides, in doing this, I am not without a hope that I may be contributing in some slight degree towards elevating a profession, the archetypes of which discoursed the finest music of their times, and whose courtliness of demeanor and varied acquirements were such as to render them the fit associates of persons of the highest culture. For, in this instance, why may not what has been be again?
It is unnecessary to dwell at length upon the fact so sadly apparent, that the American minstrel has had for his principal "stock in trade" the coarse, the often vulgar, jest and song; a disgusting (to the refined) buffoonery, attended with painfully displeasing contortions of the body; and, worst of all, the often malicious caricaturing of an unfortunate race.
It is, however, cause for gratulation, that American minstrelsy has of late been divested of much of itsformer coarseness; that its entertainments have become so much diversified and elevated in character—the musical portions of which at times so nearly approach the classical—as to render the same entirely different from the minstrel performances so common a few years ago. It is found that a public rapidly becoming enlightened, and freed from the influences of an unreasoning and cruel race-hatred, no longer enjoys with its former relish the "plantation act," so called, with all its extravagant and offensive accompaniments. Compelled to recognize this change of sentiment and taste, the best troupes now frequently give, instead of the "act" just mentioned, some other one, which, while comical enough, is yet free from features distasteful to people of refinement.
In view of all this, may we not ask, Is the minstrel guild going back to the standards of its ancient and more noble days? Let us hope that it is.
And to the attention of those who have regarded with aversion (often with good cause too) the modern race of "troubadours" I commend the cheering tendencies just noted, since these may be held as indicating the dawn of a brighter day for all concerned.
I next invite the reader to the perusal of a sketch of the famous "Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being allrealcolored men, and therefore not dependent upon "burnt cork,"—being, as some have put it, "the genuine article,"—they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by any means the most important cause of their unprecedented success.
But the reader is first requested to pardon what may be thought a digression: the writer considers it a necessary one.
He is aware, that, in presenting in this book the following account of the Georgia Minstrels,—an account which, on the whole, must be regarded as highly complimentary to the latter,—he may be incurring the displeasure of some very excellent people who belong to the same race as that of the members of the troupe mentioned. This he very much regrets; for although he considers these persons as perhaps unnecessarily sensitive, and certainly mistaken in some of the opinions which they hold regardingthiscompany of minstrels (whose performances, by the way, most of said persons have never witnessed), he yet entertains the fullest respect for the honorablemotivesthat inspire their disfavor.
The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed herein order that both sides may be heard. Against their severe and somewhat sweeping character I place the finemusicalachievements of the subjects of this sketch. Of these, assuredly, we canallbe proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.
The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and otherwise distribute play-bills for a company of colored minstrels who were to appear in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appearance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Minstrels. He resolved as he entered, however, that he would give his particular attention to themusicalpart of the programme, and try to discover in that such evidences of talent and fine attainments as would justify him in sketching the troupe. He was not pleased, of course, with that portion of the performance (a part of which he was compelled to witness) devoted to burlesque. Nevertheless, he found in the vocal and instrumental part much that was in the highest degree gratifying; for during the evening he listened to some of the most pleasing music of the time, sung and playedin a manner evincing on the part of the troupe not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel question; feeling that the Georgia Minstrels had presented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered while witnessing that part of the performance devoted to caricature.
Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (except in one or two instances) scientific training, the Georgia Minstrels began their career under the leadership of Mr. George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one; nor did they attain to a firm position before the public until after Mr. George B. Callender assumed the directorship. By studious application, most of the original "Georgias" became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit; the skilful director "pressing into the service," so to speak, as he passed through the country, the best talent obtainable. At present, only two or three of the original members are with the company.
The troupe is now composed of twenty-one performers; and each possesses either rare vocal or instrumental (most of them both) natural talents and acquirements; and, when these qualities are combined, a performance of such delightful beauty and finish is presented, as to elicit from their audiences the mostenthusiastic applause. From the instrumentalists of this company either a fine orchestra or brass band can at any time, as occasion requires, be formed; while they present solo, single and double quartet, andensemblesinging, of most charming power and sweetness. At least four of their number have been in the past accomplished teachers of music; one has played in some of the best orchestras of England; one is a superior performer upon at least four instruments, while he is a fair player of twelve; several are excellent performers on two or three instruments; and three of the troupe arrange and write music.
The following-named persons are members of the troupe at this writing (May, 1877):—
As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that a year or two ago, while the company remained over Sunday in a Western city in which they had performed during the previous week, this quartet was invited to sing (as its choir) in one of the most fashionable churches there. The invitation was accepted; andit may be remarked, that although these fine singers did full justice to the proprieties of the occasion, and thus justified the bestowment of a marked honor upon them,—it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred upon members of a minstrel troupe.
While in Boston in 1876, the company were invited to a "camp-fire" of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own classical quartet and that of the "Georgias" united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences simply to show the character and extent of the popularity which this excellent troupe everywhere wins: for to please a miscellaneous throng in public halls and theatres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, is the experience of most all minstrel companies; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoyments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone.
And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony withwhat I have said respecting the merits of these famous performers, add some points of interesting description.
Says "The New-York Sun,"—