brothers and their mother, gave a concert at Ringueberg Hall
last (Monday) evening; and their performance was such as to
elicit the enthusiastic approval of all present. Coming
among us as strangers, their merits were not generally
understood; and we presume that the entire audience were
agreeably disappointed in the entertainment presented. We
hazard nothing in saying that we have not had in our place
for years a concert which combined all the elements that
please the musical ear, and satisfy the cultivated taste, as
did this. The introductory piece, 'Fantasia,' from Lucia,
evinced the highest order of musical culture, the most
excellent taste, with that superior power of execution which
long practice only gives. The two brothers John and
Alexander have superb voices, guided by a correct knowledge
of music, and enriched by cultivation. Madame Luca was
laboring under indisposition; but she sang well, and gave
abundant assurance of superior vocal powers. But the great
feature of the entertainment was the performance of C.O.
Luca on the piano. With the exception of the celebrated
Mason, we have never had his superior as a pianist in
Lockport; and even he could not execute the pieces presented
with greater effect. There is music in his playing which we
seldom hear from the piano. It is not simply the striking of
the keys in order, emitting a succession of musical sounds;
but it is one continual flow of melody without interruption.
From the moment he first strikes the keys, the harmonious
melody gushes forth, note melts into note imperceptibly,
wave after wave of melody goes forth and mingles into one as
do the waves of the sea; and there is no breaking of the
majesty of its harmony until the last note is touched.
"The family, as has been before announced, are colored, and
consequently labor under some disadvantages; but we predict
for them a successful future. Such superior musical powers
must win for them a reputation that will bring its
recompense. The pieces they sing are selected with good
taste, and evince a determination to deserve public favor.
And we may here say, that we believe the Luca family, in the
quiet and unostentatious display of their musical powers,
are doing more to secure position for the colored man than
all the theorists and speculators about the right of man
have yet accomplished in America. The possession of such
talent, and its cultivation, show genius and industry which
any man might emulate; and, when the colored men shall be
represented in all the arts and sciences by those who are
able to occupy front ranks, they will need no moralist to
assert their rights: they can then maintain their own
position. The human mind is so constituted, that it will
always pay homage to genius, let it be exhibited under a
white or black surface.
"A large number of the audience joined in a request that the
Luca family repeat their concert; and they have consented to
do so on Friday evening next, when we hope to see an
audience out worthy of their superior merits. In the mean
time we commend the Luca family to the press wherever they
shall go, as every way worthy of their aid and indorsement."
During their second tour of Ohio, in 1859, the "Lucas" met and joined
the famous Hutchinson family, giving many entertainments in
conjunction with them. The Hutchinsons thus proved the entire
sincerity of their professions that they loved their brother man "for
a' that." The press of the country was much excited over this novel
union, and the expressions emanating from the former were various.
Without, however, minding the pros or cons, these two troupes
travelled more than a month together, experiencing a pleasurable and
profitable season.
I append below two advertisements of concerts given by these troupes
at the time mentioned:--
(I.)
[Illustration:
THE HUTCHINSON FAMILY,
ASA B., LIZZIE C., and LITTLE FREDDY;
with the
LUCA BROTHERS,
JOHN AND ALEXANDER, AND CLEVELAND,
THE WONDERFUL PIANIST!
_HUMOR, SENTIMENT, AND OPERA!_
From the established reputation of both these companies, a
rare treat may be expected.]
(II.)
[Illustration:
By SPECIAL ARRANGEMENTS,
THE HUTCHINSONS
will be assisted at their
_CONCERT_
in this place by the
LUCA FAMILY,
with their
Wonderful Pianist!]
As a reflection of the terrible, the foul spirit of caste, then so
largely prevailing, I regret that it is my duty to append the
following elegant (?) extract from a paper published at Fremont, O.,
Feb. 25, 1859:--
"The Hutchinsons,--Asa B., Lizzie C., and little
Freddy,--accompanied by the Luca family, gave a concert at
Birchard Hall on last Wednesday evening. The house was not
more than a paying one. When we went to the concert, we
anticipated a rare treat; but, alas! how wofully were we
disappointed!... We have, perhaps, a stronger feeling of
prejudice than we should have felt under other
circumstances, had their abolition proclivities been less
startling; but to see respectable white persons (we presume
they are such) travelling hand in hand with a party of
negroes, and eating at the same table with them, is rather
too strong a pill to be gulped down by a democratic
community."
No doubt the writer of the above, if now living, would be ashamed to
utter sentiments so uncharitable and so vile.
But as an evidence of honest criticism, and in pleasing contrast with
the foregoing, I give the following.
"The Norwalk (O.) Reflector," March 1, 1859, says,--
"The concert given in this place on Saturday night last by
the Hutchinsons and Lucas was among the best musical
entertainments ever given here. The audience was large, and
the artists sang with spirit.
"Where all sang so well, it is difficult to select the
best.... The Lucas are charming musicians, both instrumental
and vocal; and, when two such companies unite, there will be
superior concerts."
A Sandusky (O.) paper, March 1, 1859, says,--
"The Hutchinsons and Lucas sang to quite a full audience at
West's Hall last evening. The performance could not, coming
from troupes possessing talent varied and of the higher
order, be otherwise than good. These bands, when they
united, made a palpable hit. Their combined concerts are
almost invariably successes."
A Wooster (O.) paper, February, 1859, says,--
"The Hutchinsons and Lucas--these two celebrated
troupes--will give together one of their unrivalled
entertainments at Arcadame Hall on Saturday evening next.
They are spoken of in the highest terms by the press in
different directions. Both troupes have been in Wooster
before; so that it is unnecessary for us to speak of them
favorably. The hall will undoubtedly be filled."
A Cleveland (O.) paper, Feb. 28, 1859, says,--
"The well-known Luca family are now giving concerts in
connection with Asa B., Lizzie C., and little Freddy
Hutchinson, of the Hutchinson family; and their performances
are highly spoken of by Western exchanges. They perform in
Elyria on Tuesday evening; and will soon appear in this
city, we understand."
Shortly after the return of the Luca family from the tour with the
Hutchinsons, Cleveland the pianist, with a noble aim, resolved to go
to Africa. This circumstance caused the disbandment of the troupe.
Their father has resided for a long time at Zanesville, O., where,
although quite advanced in years, he is still esteemed as a vocalist,
singing in a church choir, and where he enjoys the respect of all for
his many good qualities of heart and mind.
His two sons, John and Alexander, are now, as ever, devoted to the art
of music; the former being a valuable member of the celebrated Hyer
sisters concert and dramatic troupe, while the latter is vocal
director of another company.
As a fitting close to this sketch, as a corroboration of my own
testimony, and as an evidence of the noble qualities possessed by that
rare musician and Christian gentleman, Asa B. Hutchinson, I add the
following beautiful tribute from his pen:--
GENEVA, O., Dec. 15, 1875.
In regard to our dear friends the Lucas, I am glad to state
that it was our pleasure to associate with them in public
concerts "in the cruel days of the prejudiced past;" and
this is our testimony: that, in all our concertizing for
thirty-five years, we never formed an alliance with any
musical people with whom we fraternized so pleasantly, and
loved so well, and who evinced so much real genuine talent
in their profession, and such courtesy and Christian culture
"in their daily walk and conversation." Our dear lamented
Cleveland was a thoroughly educated pianist, and won the
enthusiastic admiration of the scientific musicians in every
city and town we visited. He executed most rapidly, at
sight, any and all of the difficult and new compositions
that were presented to him by his friends, to their
astonishment and our mutual joy; and when the three
brothers, "Alex.," John, and Cleveland, united their
respective instruments and voices in one grand choral, the
effect was intensely thrilling and electrical. In some of
our concerted pieces, where they united with us, we carried
our reformatory sentiments and songs to a successful
termination; and, notwithstanding the then great and bitter
prejudice of our audiences against us all for daring thus
publicly to associate together, they cheered our combined
efforts with loud applause and frequent encores.
And now that each of our bands are broken by death, still
believing that the freed spirits of the departed loved ones
are re-united in "singing the songs of the redeemed" in that
realm of light, liberty, and love beyond, it is a great
satisfaction to me, a poor lingering pilgrim, to revert to
one of the sweetest experiences of our entire
concert-life,--the acquaintance and fellowship of the Luca
family.
ASA B. HUTCHINSON.
VII.
HENRY F. WILLIAMS,
COMPOSER, BAND-INSTRUCTOR, ETC.
"Thy purpose firm is equal to the deed."
"His lyre well tuned to rapturous sounds."
A writer in "The Progressive American" for July 17, 1872, said,--
"Having occasion to visit Boston, I attended one of the
unrivalled concerts at the Coliseum, where, to my great
astonishment, I saw undoubtedly the greatest assemblage of
human beings ever congregated under one roof, and heard a
chorus of nearly or quite twenty thousand voices,
accompanied by the powerful organ and an orchestra of two
thousand musicians. I was highly delighted. But what gave me
the most pleasure was to see among some of the most eminent
artists of the world two colored artists performing their
parts in common with the others; viz., Henry F. Williams and
F.E. Lewis. Each of these was competent to play his part, or
he could not have occupied a place in the orchestra. I was
informed by the superintendent of the orchestra that both
these man were subjected to a very rigid examination prior
to the commencement of the concerts."
[Illustration: HENRY F. WILLIAMS.]
The pleasure afforded this writer, by witnessing our subject's
appearance on the memorable occasion referred to, was shared by
many other persons who were able to distinguish him in that vast
concourse of fine musicians. It was not so easy to distinguish him
from the others by his complexion as it was by his dignified, graceful
appearance. Of this, as well as of Mr. Williams's musical skill, the
organizer of the great orchestra, Mr. Baldwin, has, since the event,
spoken to me in terms the most complimentary. He said it was not more
Mr. Williams's good playing, than his handsome, manly appearance in
the orchestra, that afforded him pleasure; and that in both of these
particulars Mr. Williams stood in favorable contrast with many other
members of the orchestra. This was high praise indeed, but no higher
than its recipient deserved, as all will testify who know him.
As stated in the extract just quoted, Mr. Williams, before being
accepted as a member of the Jubilee orchestra, was subjected to a
severe test; being required to execute on the double-bass the parts
written for that instrument in the celebrated overture from "William
Tell," and also in Wagner's difficult "Tannhäuser." In regard to this
test Mr. Baldwin has since said to the writer, "I myself had no doubts
as to Mr. Williams's ability as a musician. My object in arranging the
test performance was, that I might afterwards point to its successful
result, and thus silence many of the instrumentalists that came from
other parts of the country, in case they should object (I knew that
many of them would do so), on the weak ground of _color_, to playing
with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the
color of his face. What we wanted for the grand orchestra was _good
musicians_, and, when any one objected to our two colored performers,
we triumphantly referred to the exacting and satisfactory test they
had undergone as sufficient answer to the foolish clamors of all those
afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus
resolved, and convinced that the two colored men were artistic
performers,--superior in ability to many with whom they were to be
associated,--no one declined to play; and all was harmony thereafter."
And here I may be permitted to record the thanks of all well-meaning
people for the noble action of Messrs. Gilmore and Baldwin. The two
artists mentioned were not the only members of their race who took a
part in the memorable Jubilee concerts. Several others in a vocal way
occupied even prominent positions at these concerts. Some sang as
artists on the stage, and several were members of that great chorus of
nearly twenty thousand voices. In all these places they did their
share in making the occasion a grand success, while they justified
fully the wisdom of those by whom they were invited to participate.
The action of the latter was no more than what was due and right, it
is true; but it is well to remember (for we must take things as we
find them) that Messrs. Gilmore and Baldwin were not obliged to engage
these persons. Had the former not been men of pure principles and
firmness, they might have yielded to the mean and by far too popular
prejudice entertained against colored people, and have refused to
allow them to take part in the performances. That they did not thus
yield is much to their credit as musicians and gentlemen; and they are
to be thanked, I say, for their manly action.
The little ripple of excitement caused by Mr. Williams's appearance
among the musicians of the Jubilee might well have provoked from that
gentleman a smile of contempt; for he was a far older and much more
skilful performer than many who at first objected to playing with him.
He had, indeed, more than thirty years of musical experience behind
him,--years which were full of manly, persevering struggle against
great odds, and years during which he had many times triumphed over
opposition far greater than that met by him at the Coliseum. Born in
Boston Aug. 13, 1813, beginning his studies when but seven years of
age, he had, mainly by his own efforts (he is in the truest sense a
"self-made man"), become a thorough musician; was a superior performer
on the violin, double-bass, and the cornet; a fair performer on the
viola, violoncello, baritone, trombone, tuba, and piano-forte; having
been besides for years an esteemed teacher of most of these
instruments. Nor did his musical powers stop here; for in addition to
being a skilful arranger of music for the instruments just mentioned,
and others, he was a composer, many of whose works bore the imprint of
several of the most eminent music publishers of the day. Learning
these facts, no wonder that those who at first opposed Mr. Williams's
entrance into the grand orchestra (these persons, by the way, were not
residents of Boston, but came from the West and South) afterwards were
ashamed of their foolish prejudices, and became his warm admirers.
Mr. Williams, as an instrumentalist, devotes himself especially to the
violin and the cornet. Upon these he executes in a superior manner the
finest music of the day. Possessing fine natural talents, of great
versatility, and of long study and experience, he is enabled to play
any kind of music; passing with the utmost ease from the "light
fantastic" of the dance to the grave and profound of the old masters:
in either kind he is always noticeable for the finish and tastefulness
of his performance. He has given much of his time to the formation and
instruction of military bands, frequently arranging and composing
music for them. In the former capacity--that of arranging music--he
has often been employed by P.S. Gilmore, director of the celebrated
Gilmore's Band, and projector of the two great Peace Jubilees. He was
at one time connected with the famous "Frank Johnson's band" of
Philadelphia, and of several others in the West, travelling
extensively, and giving instruction in music. A short while ago, the
manager of the Boston Cadet Band--successors of Gilmore's--showed me a
quickstep in manuscript, of the merits of which he spoke very highly,
composed by Mr. Williams for the first-mentioned band.
The following is only a partial list of the many songs (words as well
as the music his own) of which our subject is the author:--
"Lauriette," [Transcriber's Note: 'Lauriett' in the Appendix]
published by Firth & Pond, New York, 1840; "Come, Love, and list
awhile," published by Pond & Hall, New York, 1842; "It was by Chance
we met," published by O. Ditson & Co., Boston, 1866; "I would I'd
never met Thee," published by O. Ditson & Co., Boston, 1876.
Of the above, "Lauriette" had a large sale, the _publishers_ realizing
a considerable profit from the same. In 1854 O. Ditson & Co. published
his "Parisien [Transcriber's Note: 'Parisian' in the Appendix]
Waltzes." These are a set in five numbers, with a fine introduction,
and containing some very bright and sweetly-flowing melodies. These
waltzes had a good sale, and added much to the composer's reputation.
Besides the above, Mr. Williams has composed eight or ten
polka-redowas, and several mazurkas and quadrilles (some of these have
been published); and he is the author of several overtures.
Early in his career he composed an anthem which was much praised by
persons of musical judgment. At that time so greatly was the judgment
of people affected by color-prejudice, that many persons doubted the
ability of one of his race to create a work so meritorious as the one
just mentioned. They were, however, soon compelled to admit that Mr.
Williams was the talented author of it.
Lowell Mason, the eminent composer of sacred music, was one of those
who at first entertained doubts as to the authorship of the anthem;
and he, like the others, finally yielded to stubborn facts. Moreover,
becoming acquainted with our subject, and learning more of his fine
abilities as a musician, Mr. Mason remarked that it was a pity one so
talented should be kept down merely on account of the color of his
face. I am sorry to say, nevertheless, that this gentleman could rise
no higher above the common level of that day than to advise Mr.
Williams to go to Liberia. Had Mr. Mason, who was so original and bold
in music, been only half as bold in creating a sensible, a humane
public sentiment; had he, as he looked with pity upon this gifted and
devoted young musician struggling against the ignoble spirit of caste
to gain a place in art, thrown his great influence on the side of what
he confessed was right; and had he, instead of advising Mr. Williams
to _bury_ himself in Africa, declared that the latter should have an
equal chance with others in _this_ country in developing his musical
powers,--had Mr. Mason done this, I say, I feel sure that such
encouragement, coming in the very "nick of time," would have resulted
in placing the subject of this sketch far above even his present
excellent position as a musician, while such noble action on the part
of Mr. Mason might to-day be considered as an additional gem in the
latter's confessedly bright crown. I hope I do not seem too harsh. I
love music and those who create it, and I greatly dislike to speak
aught that is ill of such persons. And yet I love too, even more
ardently, reform and its promoters; and therefore cannot regard with
complacency the acts of those, who, possessing great talents and
influence, yet fail to use them in furthering the cause of right. I
have said that Mr. Williams has written several overtures: one of
these was for the orchestra of the famous Park Theatre. At present he
is constantly engaged in arranging and composing music.
In concluding this brief sketch, which I fear falls short of doing its
subject justice, I will only add, that in the remarkably fine
achievements he has made under circumstances and against difficulties
that would have caused many to falter, indeed, to yield in
despair,--chief among these difficulties being the hateful, terrible
spirit of _color-prejudice_, that foul spirit, the full measure of
whose influence in crushing out the genius often born in children of
his race it is difficult to estimate,--in Mr. Williams's triumphs in a
great degree against all these, I say, is presented an instance of
art-love, and of manly, persevering devotion, that is truly heroic.
Falling short, as he does, of an eminence, that, had he been born with
a fairer complexion, would ere this have been his, his life is yet a
grand example to those younger members of his race who are beginning
their careers in the world of music when fairer skies light their
pathway; when the American people, regretting the depressing,
blighting cruelties of the dark past, now seek to atone for the same
by offering encouragement to _all_ who exhibit musical talents, and
evince a conscientious desire to improve the same. Mr. Williams may
remember with pride that to this gratifying result he has in a very
marked degree contributed; and that therefore, in spite of some
disappointments, his musical life has really been a noble success.
VIII.
JUSTIN HOLLAND,
THE EMINENT AUTHOR AND ARRANGER,
AND PERFORMER ON THE GUITAR, FLUTE, AND PIANO-FORTE.
"Gayly the troubadour
Touched his guitar."
OLD SONG.
"Untwisting all the chains that tie
The hidden soul of harmony."
MILTON.
No life can be called a truly great one that has not been a truly good
one: a very simple saying, and one which, however trite, yet requires
frequent repeating, since its importance is but too seldom considered.
And the noble fame that sooner or later surely attaches to the author
of such a life belongs chiefly, but not entirely, to him; it being in
part, in a certain sense, the property of all who would follow in his
footsteps, becoming for them an inspiring example; its history, with
all its experiences of hope and fear, its occasional failures but
frequent successes, its struggles when environed by poverty or other
untoward circumstances, and its final triumph over all obstacles,
serving as a guide, a beacon indeed, to illumine their pathway as
they climb the same difficult but glorious hills of honor.
[Illustration: JUSTIN HOLLAND.]
But such renown comes oftenest to those who seek it not,--to those who
perform the right for the sake of right. These are they who
"Do good by stealth, and blush to find it fame."
Thoughts very similar to those just expressed are such as will
naturally enter the minds of all who contemplate the history of Justin
Holland, the distinguished musician. A mere outline of that
interesting history is all that can here be given.
But first let me say, that if a little while ago, when arranging the
title for this sketch, the writer had been quite sure that in placing
after the name of the person to be treated a certain single
word,--which really is one of very extensive meaning, although not
always so used or understood,--had he been sure that from that word
the general reader would have formed a complete idea of this artist's
very varied accomplishments, then the heading would have been simply,
"Justin Holland, musician." But judging that such brevity, however
desirable in some respects, might yet fail in doing justice to one
whose great native talents, joined to remarkable attainments made
during a life of most industrious endeavor, entitle him to very
particular mention from first to last, I have thought it best to state
in detail the several departments of the musical art in which he has
won the rarest of laurels.