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 its former 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 all _real_ colored 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 regarding _this_ company of minstrels (whose
performances, by the way, most of said persons have never witnessed),
he yet entertains the fullest respect for the honorable _motives_ that
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 here in
order that both sides may be heard. Against their severe and somewhat
sweeping character I place the fine _musical_ achievements of the
subjects of this sketch. Of these, assuredly, we can _all_ be 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 the _musical_
part 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
played in 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 most enthusiastic
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, and
_ensemble_ singing, 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):--
GEORGE B. CALLENDER _Manager._
GEORGE A. SKILLINGS _Musical Director._
RICHARD G. LITTLE _Stage Manager._
WILLIAM W. MORRIS _Interlocutor._
F.E. LEWIS,
SAMUEL JONES,
WILLIAM ELMER LYLE,
WILLIAM KERSANDS,
JAS. EMIDY,
PETER DEVONEAR,
GEORGE COOPER,
ROBERT MACK,
DAVID SCUDDER,
JNO. T. DOUGLASS,
JAS. GRACE,
OCT. MOORE,
R. EMIDY,
ROBERT HIGHT,
CHARLES ANDERSON,
JAS. FERNAND,
AND MESSRS. THOMPSON AND GAINES.
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; and it 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 with what I have said respecting the merits of these famous
performers, add some points of interesting description.
Says "The New-York Sun,"--
"Every song was encored some two or three times."
"The New-York Herald,"--
"The new melodies find in them the fittest interpretations."
"The Memphis Appeal,"--
"We might write a column of praise, and even then there
would be something unsaid of their merit. They are good in
every thing they attempt."
"The Indianapolis Journal,"--
"We doubt if a more successful entertainment of this kind
has ever been given in this city. We no longer wonder that
Boston sent forty thousand to hear them at the Hub."
"The Petersburg (Va.) Index,"--
"We do not hesitate to pronounce Callender's Minstrels the
superiors in this line to any we have ever seen. They far
outreach the usual small range of excellence, and leave
their rivals far behind."
"The Philadelphia Inquirer,"--
"So great was the rush to see them, that the sale of tickets
at the box-office had to be stopped half an hour before the
performance. They are unquestionably excellent."
"The Philadelphia Record,"--
"It is estimated that at least one thousand people were
turned away from the box-office last night, unable to obtain
tickets or entrance, so great was the rush."
"The Cincinnati Commercial" says,--
"They have drawn better houses in Cincinnati than any white
troupe."
"The Brooklyn Eagle" says,--
"From first to last, all are absorbed in admiration."
"The Cincinnati Inquirer" says,--
"It is an unusually fine company, and superior to any that
visit here."
"The Baltimore News" says,--
"There is no approach to vulgarity. Their audiences are the
most fashionable. No minstrel company can compare with
Callender's."
"The Brooklyn Union" says,--
"They are superlatively excellent."
"The Memphis Appeal" says,--
"They are masters of minstrelsy."
"The Baltimore American" says,--
"All other companies are tame in comparison with these."
William Lloyd Garrison writes,--
"It is gratifying to see that no imputation is brought
against them of presenting any thing offensive to the eye or
ear."
Mr. P.T. Barnum says,--
"They are extraordinary, and the best I ever saw. They fully
deserve their large patronage."
Said Dexter Smith, the eminent song-writer,--
"Boston has unconditionally yielded to the Georgia
Minstrels. If you wish to see the brains, beauty, and
fashion of the musical metropolis, a peep into Beethoven
Hall will give you an insight of it. Never has a minstrel
troupe created such enthusiasm in any American city as the
Georgia Minstrels have done in Boston."
And the Boston "Folio," that excellent journal of music,--
"The Georgia Minstrels, who are nightly appearing before
crowded houses at Beethoven Hall, deserve more than a
passing notice, on account of their excellence, and the
utter absence of aught that could offend the most
fastidious. 'The Traveller' expresses our sentiments so
exactly, that we cannot indorse them better than by
quoting:--
"'There is a freshness and a completeness about the whole
performance which entitle it to the fullest praise. As for
the whole evening's enjoyment, it may be characterized as
novel from the fact that it is native and not imitative,
commendable because it is wholly refined, and most pleasant
because it is always artistic. The comedians are very
numerous, and all unite in giving a perfection to the
rendering of the whole bill.'"
"The Boston Herald" said,--
"Beethoven Hall was well filled last evening by admirers of
Ethiopian delineations, assembled to see and hear the
original Georgia Minstrels, who have returned from a very
successful tour in Europe, and are now located at the
above-named hall for a short season. The company is a
novelty from the fact that all the members are colored, and
their performances possess a genuineness which no burnt-cork
artists can fully imitate. Their music, both vocal and
instrumental, is excellent. Each performer seems to be not
only a natural, but a cultured artist; and all have the
faculty of being exceedingly mirthful, without overstepping
the bounds of refinement. In fact, each performer seems
perfect in his _rôle_; and all appear to be masters of
minstrelsy."
Again the same paper said,--
"The Georgia Minstrels have burst upon us like an avalanche.
All the reserved seats were sold last evening before the
performance commenced; and the house was filled by a
fashionable audience,--one rarely seen at a minstrel
entertainment. The troupe have made a decided hit, and their
performances last night were received with great enthusiasm.
Their songs and choruses are excellent; their puns, jokes,
and stories, fresh and laughable; and their special acts
new, and of a superior order. The performances of the troupe
have happily filled a void which existed in the amusement
field.
"This troupe of native artists has won the very highest
praise from every one wherever it has appeared. In England
and America over three thousand performances have been
given. The troupe has appeared before the Queen of England,
and bears the highest testimonials of the press from across
the water."
"The Boston Advertiser" said,--
"They (the Georgia Minstrels) are at the head of the
minstrel business in this country."
The "Chicago Post,"--
"The company merits all the praise which has been bestowed
upon them."
I need only further mention, in conclusion, that several members of
this troupe possess musical and histrionic abilities of an order so
high as to fit them to grace stages of a more elevated character than
the one upon which they now perform. Indeed, one formerly attached to
it is now a valuable member of the "Hyers Opera Company." On the
minstrel boards his talents as a singer and actor were developed. It
is to be hoped (and here I crave the pardon of Mr. Callender, their
gentlemanly director, who is requested to try to appreciate the good
_motive_, at least, that prompts a suggestion which seems to aim at
the disintegration of his famous company) that others of the
"Georgias" will follow his example. Their motto should constantly be,
"Excelsior!"
I have been informed that in the city of Boston, at a certain time,
not many years ago, the then directors of the three principal theatre
orchestras were persons who had previously been members of minstrel
troupes. It is also known that several of the finest operatic singers
in this country learned their first lessons at this same school,--the
minstrel stage. In their new, higher, and of course far more
desirable positions, these persons have achieved artistic results
which reflect upon them the highest credit, and which show also that
the minstrel profession has some beneficial, elevating uses,
notwithstanding all that may be truly said against it.
PART SECOND.
OTHER REMARKABLE MUSICIANS,
AND
THE MUSIC-LOVING SPIRIT OF VARIOUS LOCALITIES.
I.
"They are the abstracts and brief chronicles of the time."
SHAKSPEARE.
On the following pages I shall make mention in collective form, and
somewhat briefly, of a number of artists whose histories, although not
less important than those by which they are preceded, could not, owing
to various causes, be placed in the first part of this book.
The true value of musical proficiency does not consist alone in the
power it gives one to win the applause of great audiences, and thereby
to attain to celebrity: it consists also in its being a source of
refinement and pleasure to the possessor himself, and by which he may
add to the tranquillity, the joys, of his own and the home life of his
neighbors and friends. And here will be found, therefore, a brief
mention of those, who, although they are not public performers, are
yet sincere devotees of the art of music, who possess decided talent,
and who in their attainments present instances of a character so
noticeable as to render the same well worthy of record.
It is considered proper to say, also,--a caution which perhaps may not
be necessary,--that I shall here make mention by name of none but
persons of scientific musical culture; of none but those who read the
printed music page, and can give its contents life and expression,
generally, too, with a fine degree of excellence, either with voice or
instrument; and who evince by their studies and performances the true
artistic spirit. The singer or player "by ear" merely, however well
favored by nature, will not be mentioned. This course will be
followed, not because persons of the latter class are regarded
contemptuously,--not by any means; but because it is intended that the
list here given shall be, as far as it goes, a true record of what
pertains to the higher reach and progress of a race, which, always
considered as _naturally_ musical, has yet, owing to the blighting
influences of the foul system of slavery, been hitherto prevented from
obtaining, as generally as might be, a _scientific_ knowledge of
music.
Nor must the list of names furnished be understood as an exhaustive
one. Had the author the time in which to collect more names, or had he
here the space for printing the same, he assures the reader of this
only partial chronicle that one could be furnished which would be many
times larger. And moreover, if any meritorious musician shall complain
because his name does not here appear, I ask him to pardon the
omission, made not from choice, nor with the purpose of giving
personal offence.
If the first edition of this book shall be received with such favor as
to warrant the issuing of a second one, I shall, if it be found
necessary, take the time and pains to supply in it such omissions as
appear to be made in this one. If it be found necessary, I say; for I
am inclined to opine that ere long,--judging from a "view of the
field" that I have lately taken, and after witnessing there the many
delightful evidences of musical love and culture,--that ere long
neither such lists as this, nor just such books as this, will be
considered as necessary.
Nevertheless, the writer requests all who are interested in the more
general cultivation of music by the people to send him such names as
have been here left out, together with all facts that may additionally
illustrate the subject treated in these pages; all names and
statements to be accompanied by as strong confirmation as can possibly
be procured. These will be published in case other editions of the
book are issued.
It is hoped that the persons here mentioned, on seeing that their
present achievements in art are regarded as of so much value in
indicating the æsthetic taste and musical capacity of their race, may
be impelled thereby to put forth even greater efforts, and to thus
attain to that still higher state of usefulness and distinction,
which, it is believed, their talents and present accomplishments show
is quite possible.
In the city of Boston, which is the acknowledged great art centre of
this country, the amplest facilities for the study of music are
afforded. There the doors of conservatories and other music schools,
among the finest of any in the world, are thrown open to _all_; the
cost of admission being, considering the many advantages afforded,
quite moderate. A love of the "divine art" pervades all classes in
Boston; and there the earnest student and the skilful in music, of
whatever race he may be, receives ready recognition and full
encouragement. It is, in fact, almost impossible for one to live in
that city of melody, and not become either a practical musician, or at
least a lover of music.
It need not, then, be a matter of surprise that so many of the most
finely-educated artists mentioned in this book are found to have been
residents of the city mentioned. Affected by its all-pervading, its
infectious, so to say, musical spirit, they eagerly embraced the many
opportunities offered for culture; and their noble achievements are
only such as would have been made by others of the same race residing
in other sections of the country, had the latter enjoyed there (as,
alas! mostly on account of the depressing, the vile spirit of caste
that prevailed, they did not) the same advantages as the former.
* * * * *