musicians of Newark, N.J.; which is no slight distinction, since in
that city are to be found some of the first musicians of the country.
He was born there in 1820. His parents were also natives of Newark.
Mr. O'Fake is what is termed "self-taught," and has cultivated most
industriously, against many disadvantages, the talents with which he
was naturally endowed. He is a skilful, expressive performer on the
violin (his specialty) and the flute. He has, of course, often
performed in public. In 1847 he took a prominent part at a concert
given by the notable Jullien Society of New York, playing on the
violin _De Beriot's Sixth and Seventh Airs with Variations_. In 1848
he took position on one occasion as leader in the Newark-Theatre
orchestra,--a rare distinction for one of his race, on account of the
prevailing color-prejudice. In 1850 he performed in Connor's Band at
Saratoga, playing at times the cornet and flute. These are some of the
most notable of his public appearances. He is occasionally called upon
to take part in concerts given by the various musical organizations of
Newark, the accident of complexional difference but seldom serving to
counteract the effects produced by his well-known musical abilities.
He often furnishes the music for receptions given at the homes of the
_élite_ of Newark. Mr. O'Fake has composed, and his orchestra often
performs to the great delight of all who hear it, a most bewitching
piece of quadrille-music called "The Sleigh-Ride," in which he most
ingeniously and naturally introduces the crack of the whip and the
merry jingle of the sleigh-bells. At such times the dancers are
excited to a high state of joyousness by the bewitching music, the
latter being of a character so suggestive as to cause them to almost
imagine themselves in the enjoyment of a veritable sleigh-ride. This
composition has greatly added to the fame of the author.
Mr. O'Fake is also a fair vocalist,--singing baritone,--and has been
director of the choir of one of the Episcopal churches in Newark since
1856. This choir frequently renders Dudley Buck's music, and that of
others among the best composers, eliciting most favorable comments
from the press.
_Misses Rosa and Malvina D. Sears_ are musical people of Newark, N.J.,
who deserve mention here.
_Philadelphia_ has, of course, many fine musicians. The most prominent
vocalists are _Madam Brown_, _Mr. John Mills_, and _Mrs. Lucy Adger_;
and the most prominent instrumentalists are _Miss M. Inez Cassey_,
pianist, _F.J.R. Jones_, violinist, and _Edward Johnson_, violinist.
This city enjoys the honor of having been the home of _Mr. Frank
Johnson_, and the place of organization of the celebrated brass band
that bore his name. It has been the intention of the writer to give a
somewhat extended sketch in this book of this famous impressario and
his talented body of performers; but as yet he has not succeeded in
obtaining the necessary materials. He will mention, however, briefly,
that Mr. Johnson was a well-educated musician, very talented and
enthusiastic, with fine powers for organization and leadership. He was
exceedingly skilful as a performer on the bugle. In his hand this
instrument
"Became a trumpet, whence he blew
Soul-animating strains: alas! too few."
Besides, he played well several other instruments. He was very much
esteemed, and was foremost in promoting in many ways the musical
spirit: he was, in fact, the P.S. Gilmore of his day. His band
attracted much attention all over the country for fine martial music.
Some time between the years 1839 and 1841 Mr. Johnson organized a
select orchestra, with which he visited several of the principal
cities of the country, "astonishing the natives" by a fine rendering
of the best music in vogue at that time. Indeed, the novelty formed by
such an organization,--all colored men,--its excellent playing, and
the boldness of the enterprise, all combined to create a decided
sensation wherever these sable troubadours appeared. It is said that
sometimes, while the band was on this tour, many persons would doubt
the ability of its members to read the music they were playing,
believing that they performed "by ear," as it is called; nor could
such persons be convinced of their error until a new piece of music--a
piece not previously seen by them--was placed before the band, and by
the same readily rendered from the printed page.
Mr. Johnson at one time visited England with his band, and gave
concerts in all the principal cities, being received everywhere with
the most demonstrative marks of favor. They were invited to play
before Queen Victoria and her court. This noble-hearted sovereign was
so highly pleased with the musical ability displayed by Mr. Johnson
and the other members of the band, that she caused a handsome silver
bugle to be presented to him in her name. Returning to this country
with such a nobly-won mark of honor, he became the centre of
attraction, and thereafter, as a musician, easily maintained before
the country a position of great popularity. At his funeral, which
occurred in 1846, the bugle just alluded to was placed upon the
coffin, and so borne to the grave, as a fitting emblem of one of the
important victories he had won, as well as of the music-loving life he
had led.
The memory of this gifted musician and indefatigable worker should
long be kept green in the hearts of all the members of his race, and
in those of his countrymen in general. For the former he of course
performed a specially noble service in demonstrating so powerfully its
capability for musical comprehension and for the scientific
performance of music,--points which, strange to say, were much in
dispute when he began his career; while in his well-nigh matchless
ability as a musician, displayed in no selfish manner, but in a way
that promoted in a high degree a general love for the elevating art of
music, Frank Johnson proved himself an honor to the whole country, and
one who should be long and gratefully remembered by all.
The band continued in existence, and was much in demand, for many
years after the great leader died, retaining its old and honorable
name, "Frank Johnson's Band." _Mr. Joseph G. Anderson_ next became
director. This gentleman was a musician of most remarkable powers,
both natural and acquired. He performed in a very skilful manner upon
almost every instrument that was in use, reading music like one reads
a book. In short, it has been said of him, that "what he did not know
of music was not worth knowing." He, too, was a great organizer; and
he showed himself, in many important respects, a fit successor of
Johnson.
When, during the late war, the State of Pennsylvania was forming
regiments, Mr. Anderson was kept busily employed for a long period
organizing and instructing brass bands for many of these regiments.
With his great musical skill and experience, he proved to be
indispensable at this time to the State, and won the brightest of
laurels.
Under Mr. Anderson's leadership, the band was occasionally engaged to
go to distant parts of the country to play for gatherings of one kind
and another. The writer well remembers when in 1852, on "St. John's
Day," this fine corps of musicians came to Cincinnati. With ranks so
deployed as to almost extend across Broadway Street, they moved in
most soldierly manner up the same at the head of a Masonic order,
playing indeed most "soul-animating strains," and winning the while
the warm admiration of a vast throng of people that lined the
sidewalks. Ah! we were very, very proud of them; so elated with their
triumphal entry, and so inspirited by the noble music, that it seemed
as though we could have followed them for days without yielding to
fatigue.
Mr. Anderson died at Philadelphia in 1874.
The successor of "Frank Johnson's Band" is called "The Excelsior." I
am informed that the latter consists of a number of superior
musicians.
"Madam Brown" was long regarded as the finest vocalist of her race in
this country, while only a few of the other race could equal her.
Although now no longer young, she still sings artistically and
beautifully. Her _repertoire_ comprises the gems of the standard
operas; and these she has sung, and does now sing, in a style that
would reflect honor on those far more pretentious than herself.
The other day, while looking over the "scrap-book" of a friend, I met
with another of those pleasant surprises that have occasionally
cheered me since I began this volume. In this "scrap-book" I found a
large number of cuttings from Philadelphia, New York, and other
papers, that related to the concerts given in the year 1856, and
later, by _Miss Sarah Sedgewick Bowers_. By these comments, I find
that this lady possessed a voice of most charming power and sweetness,
and that in her interpretations of operatic and music of a classical
character she was well-nigh, if not quite, equal to the finest
cantatrices then before the public. These papers styled Miss
Sedgewick--this was her professional name--the "Colored Nightingale."
It would perhaps be interesting to here append a number of these very
complimentary comments. A single and representative one must, however,
suffice. It is from "The Daily Pennsylvanian" of May 3, 1856.
"We have never been called upon to record a more brilliant
and instantaneous success than has thus far attended this
talented young aspirant to musical honors. From obscurity
she has risen to popularity. She has not been through the
regular routine of advancement; but, as it were in a moment,
endowed by nature with the wonderful power of song, she
delighted the circle in which she moved, and is now
enchanting the public. Last evening the hall was thronged at
an early hour. In every song she was unanimously encored."
Miss Bowers now lives quietly at her home in Philadelphia, singing in
public only on special occasions. She is, of course, still a devoted
lover of the art of which she has been so fine an exponent; while she
yet possesses, through voice and method, the power to charm an
audience.
The name of _Mr. John Moore_ should be mentioned here. He was a born
musician, so to speak, and was ever "full of music." I remember him as
the leader of the band of the Fifty-fifth Massachusetts Regiment
during the late war. Although in this position he generally played
upon the [E-flat]-cornet, he could also play most of the other
instruments used in the band; and was, besides, a good performer on
the violin and flute. Very pleasant recollections of "our band," as we
soldiers fondly termed it, remain, I am quite sure, with all the
surviving members of the Fifty-fifth Regiment. In camp-life it often
enlivened the dull hours, and gave, by sweetest music, a certain
refinement to what would have been without it but a life of much
coarseness; while upon the wearisome march we often forgot our fatigue
as we briskly marched, keeping step to the animating music. To Mr.
Moore, the leader, much praise is due for the great benefits afforded
the members of the regiment by good music; nor do we forget the skill
displayed by the other members of the band, which enjoyed the
reputation of being the best in the Department of the South. Mr. Moore
died at Philadelphia in 1871.
_Professor Lott_ of Pittsburgh, Penn., has attracted attention as one
of the very first violoncellists of the country. He has travelled
quite extensively in the United States with a concert-troupe.
_Mr. Z.A. Coleman_ is a good singer of bass.
_Mr. E. Minor Holland_ of Cleveland, O., is a good performer on the
[B-flat]-cornet, violin, and double-bass. He is quite a young man,
and, possessing much talent, may become a musician of great merit if
he continues his studies.
_Miss Mary F. Morris_ performs upon the piano-forte with fine skill
and taste, and is a vocalist of excellent powers. She has pursued her
musical studies in the Cleveland Convent, the teachers of which enjoy
a high reputation; and also under Professor Alfred Arthur, one of the
finest instructors of Cleveland.
_I.A.D. Mitchell_, playing the [E-flat]-cornet, is the very efficient
leader of a band.
_Miss Annie Henderson_ is a very pleasing vocalist. She also studied
at the convent previously mentioned, and under Professor Arthur.
_Miss Clara Monteith Holland_, a young daughter of Justin Holland, the
celebrated guitar virtuoso, gives much promise of becoming a brilliant
pianist.
Washington, O., enjoys the honor of being the home of _Mr. Samuel
Lucas_, a fine baritone character-singer, the author of a book of
songs. He, besides, has but few equals as an actor in comedy; has
travelled throughout the country as a performer, receiving everywhere
the warmest praises of the press.
While on a visit to his home last summer, Mr. Lucas was the recipient
of a complimentary benefit tendered by the admiring citizens. The
offer of this flattering testimonial was signed by over fifty of his
most respectable townsmen, and the affair was in all respects a
successful one. Mr. Lucas was assisted in the performances by the
following young ladies: Misses S. Logan, Dora Chester, Laura Reed,
Delia Lamon, S. Melvin, and Fannie Chester. Mr. Lucas is at present a
valued member of the Hyers Sisters opera-troupe, who are performing in
"Out of Bondage" throughout the West.
"The Milwaukee Sentinel" of a late date thus alludes to his
performances with this troupe:--
"As an actor he takes high rank; but it was in his singing
that he made an already-delighted audience more pleased than
ever. His rendition of 'Grandfather's Clock,' with distant
chorus and refrain, was the sweetest music we ever listened
to. The audience was breathless; the lowest whisper could be
heard distinctly all over the house; and, as the last tones
died away in the seeming distance, a hush as of death came
over the audience, followed by thunders of applause."
The writer would be very remiss did he fail to mention here the very
remarkable music-loving spirit which has been exhibited by the colored
people of Chillicothe, O. This very forcibly arrested his attention,
when, several years ago, he visited that somewhat ancient city, once
the capital of the State. It was then found that among the class of
persons just mentioned--who formed, by the way, only a small portion
of the city's entire population--there existed two or three singing
societies, two brass bands (the latter the only organizations of the
kind then in existence there), and two church-choirs, one of the same
being composed of very good vocalists indeed.
In 1857 _Rev. John R. Bowles_ organized in Chillicothe a choir for his
church, under the leadership of _Jas. D. Hackley_. This choir was
considered one of the very best in Southern Ohio. Its leader possessed
a tenor-voice of rare sweetness and power, and was quite proficient in
rendering church-music, and in directing the singing of the same by
his choir. But a few persons in the State equalled Mr. Hackley in the
possession of these qualities. Of the two bands, the one called the
"_Scioto-Valley Brass Band_" was organized in 1855 under the
leadership of _Richard Chancellor_ and _John Jones_. The other was
called the "_Roberts Band_," and was organized in 1857, the directors
being _Thomas Harris_ and _William Davis_. In 1859 these two
organizations were united under the name of the "Union-Valley Brass
Band," _Thomas Harris_ and _A.J. Vaughn_ leaders. This consolidation,
composed of the best musicians of the two bands previously in
existence, made a corps of performers that was unequalled in Ross and
the adjacent counties, while it was one of the finest in the State.
They owned a handsome bandwagon, and furnished the music for all such
gatherings--irrespective of the color of the attendants--as county
fairs, picnics, celebrations, political meetings, &c., throughout Ross
County. This band contained several performers of such excellent
natural and acquired abilities as would render them prominent among
the best musicians of any section of the country.
Besides those already mentioned as leaders, I would now refer to _Mr.
William H. Starr_, one of the finest musicians of Ohio. He has been
for a long time the leading spirit in all matters musical among the
people. A good reader of all kinds of music, Mr. Starr easily gives it
beautiful expression on any one of the many instruments used in a
brass band of ordinary size. On several of these he is a pleasing
soloist. His favorite is the [E-flat]-alto, while he is also a skilful
arranger of music for them all. Mr. Starr has also composed a number
of pieces for his own and other bands; besides others, a quickstep, a
march, and a polka. As a teacher Mr. Starr has been quite successful.
One of his former pupils is now the leader of a band.
_Mr. Thomas Harris_ should also have special mention here. He was a
superior [E-flat]-cornet player, a good bugler, and a very good
performer on the clarinet; a good reader of music for each of these
important instruments.
_Mr. William H. Dupree_, at one time the very efficient manager of the
Union-Valley Brass Band, in which he was also a performer on the
[B-flat]-baritone, is a gentleman whose history is such as to warrant
particular mention here, not only on account of his having always
possessed an ardent music-loving spirit, but also from his general
intelligence, and the fine progress he has made in attaining to
several high stations of honor and usefulness. Mr. Dupree remained a
member of the band in Chillicothe until 1863, when, on the first call
for colored troops for the late war, he went to Massachusetts, and
enlisted in the Fifty-fifth Regiment. He became first sergeant of
Company H; in which position he won golden opinions from those in
command for his strict attention to duty, his steady and rapid
acquirement of military knowledge (becoming one of the very best
drill-masters and disciplinarians of his regiment), and for his
generally fine, officer-like bearing. At one time Sergeant Dupree was
manager of the regimental band, in which position he rendered
important service. In 1864 he was promoted to the grade of a
commissioned officer,--a rare distinction for one of his race, owing
to causes so well understood that they need not be mentioned here. In
this new place of honor he so discharged his duties as to prove the
wisdom of those who tendered the appointment; for he was always
distinguished for an increased display, if possible, of those
excellent qualities, the possession of which caused his promotion.
Mr. Dupree is now the very capable and popular superintendent of
Station A Post Office in Boston, Mass. This office is situated in a
district that comprises nearly forty thousand inhabitants, composed,
for the greater part, of those among Boston's most intelligent and
wealthy citizens. He was formerly connected with a musical
organization in Boston. Although prevented by his other occupations
from devoting much attention to music, Mr. Dupree has lost none of his
old-time love for it; nor has he forgotten the pleasant days of yore
when he was connected with the brass band at Chillicothe, of whose
members he now speaks in terms of the most friendly regard.
Cincinnati now claims to be (very justly too) a decidedly musical
city; and Boston and other older places, which have all along enjoyed
the reputation of leading in matters pertaining to general
art-culture, have been warned to look well to their laurels if they
would not lose them through the advancement made by this their younger
sister, so long considered the "Queen of the West." It is true that
this distinguishing title has within a few years been claimed by
Chicago, and even St. Louis. These latter, however, base their right
to the name mostly on the results of the census-returns. In all that
relates to the substantial greatness of a city,--viz., the general
intelligence, solidity of character, and proportionate wealth of its
inhabitants,--Cincinnati, I think, may still be considered as
approaching nearer to the Eastern cities than either of the others
mentioned. This is certainly true as regards the musical devotion of
its people; and this characteristic is the one, perhaps, which most
threatens the supremacy so long held in the East.
Having said this much of Cincinnati's residents in general, it will of
course be expected that a very promising and brilliant addition is now
to be made to these records. The reader, however, must be reasonable,
and not expect _too_ much; for the same depressing causes (these have
already been sufficiently particularized in other parts of this book)
which have operated in other sections of the country against the
subjects of these sketches have been also always fully in force in
Cincinnati. It is thought that all candid observers will agree with
the writer when he confidently avows his belief, that no other people,
while laboring under so many disadvantages, would have or could have
done better than these have done. But, judging from the facts at hand,
there is really no need to beg the question; and therefore, without
offering further excuses, I shall proceed with the record.
The colored children attending the public schools of Cincinnati are
regularly taught to read music. They are frequently complimented for
their good singing by their music-teachers.
The mention of the Cincinnati schools, by the way, brings to the
writer's mind very pleasant recollections of his boyhood's home, and
of the times when he attended school there. Twenty-five years ago, the
colored school-children of Cincinnati were much remarked for excellent
singing. They were not then, as they are now, taught to read music in
the schools, but readily "caught" the pieces to be sung from the
teacher, who sang them over a few times. I remember that at one time
our favorite school-song was one called "The Captive." But only
detached portions of it come to me now. It was a piece descriptive of
the fortunes of war. A soldier of the defeated army is left behind a
prisoner. The song describes his longings for freedom, and desire to
rejoin his now-distant comrades.
I think the chorus ran in this wise:--
"Sound again, clarion,--clarion loud and shrill!
Sound! Let them hear the captive's voice.
Be still, be still!"
No answer being made to this signal, the prisoner thus laments his
cruel fate:--
"They have gone; they have all passed by,--
They in whose wars I have borne my part,
They whom I loved with a brother's heart:
They have left me here to die."
The melody was quite pretty, and the solo of the captive was of music
so appropriate and pathetic as to bring tears to the eyes of both
singer and auditory. Some of my former schoolmates, now grown to
womanhood and manhood, will probably remember better than myself this
song and others that with "glad hearts and free" we used to sing so
earnestly in the schoolroom and at our school-exhibitions. From what I
learn from credible sources, it may be stated, that a visit now to the
schoolrooms of Cincinnati would reveal a scientific acquaintance with
music so great as to almost prevent the making of a comparison between
the two periods under consideration.
The Mozart Circle, under the direction of _Mr. William H. Parham_, is
a vocal organization of twenty-five members, established about three
years ago. In July, 1875, this society gave a public performance, in
costume, of the cantata of "Daniel." No attempt was made to notify the
press that the cantata was to be rendered; but a gentleman of fine
taste, and one who is generally on the lookout for all signs of
art-advancement made by the colored people, was present on the
occasion referred to. His impressions of the performance were
recorded the next day in the Cincinnati "Gazette" and "Commercial,"
and were as follows:--
CONCEALED MUSICAL TALENT.
MR. EDITOR,--Permit me the use of a small space in your next
issue to speak in deserved praise of a musical entertainment
enjoyed by a portion of our citizens last Monday night.
It was the cantata of "Daniel," rendered in full costume by
the recently organized Mozart Circle, which, embracing about
twenty members, has in the short space of six months
developed a capacity which gave them success in this
enterprise. It is a pity that their excessive modesty
prevented their seeking the service of the press; for they
have thereby kept themselves in an obscurity which it is my
hope that this article will serve to draw them from. The
preparation made for this entertainment should not have its
service limited to a single occasion. It deserves
repetition, and an appreciative public deserves the
opportunity to enjoy it.
Louisville, Columbus, Toledo, Cleveland, and other cities
more or less remote, would give themselves a treat, could
they prevail on the Circle to render the cantata in their
midst. Not having consulted any one connected with it, it is
a voluntary suggestion from me, that parties craving the
enjoyment of a refined musical entertainment open
communication with Mr. William H. Parham, its musical
director.
W.P.W.
CINCINNATI, July 7, 1875.