excellent singer, a few weeks ago organized a select choir for the
purpose of rendering the cantata just mentioned. _Mr. William H.
Morgan_, who sings in the principal _rôle_, is a young gentleman quite
worthy of the high praise which his performances have elicited. All
the members of the choir sing well; but among them no one gives more
marked promise than does a young schoolgirl of only thirteen years,
named _Elnora Johnson_. The compass and sweetness of her voice are
considered marvellous. This society promises to give the cantata
"Esther."
From the foregoing it will be seen that much attention is being given
to a study of some of the higher forms of composition,--a very
encouraging sign indeed.
Another vocal society is called the Arion Quartet Club. _Messrs.
Andrew D. Hart_ and _John Lewis_ are two of its members: the names of
the others I have not learned.
There are at present no instrumental societies except one or two very
good quadrille bands.
_Mrs. Ann S. Baltimore_ is an accomplished pianist, and possesses,
besides, a melodious voice. She has been favorably noticed by the
press.
_Professor Moore_ plays skilfully the parlor-organ and piano-forte. He
teaches the playing of these instruments, and also teaches vocal
music.
_Mr. D.W. Hamilton_ is the very popular leader of a string-orchestra.
The private circles of Cincinnati are ornamented by several classical
singers of both sexes.
First among the ladies is _Miss Fannie Adams_. She is welcomed as a
member of the Cincinnati Choral Society; and is a skilled pianist,
giving lessons on that instrument.
_Misses Ernestine and Consuelo_, daughters of Peter H. Clark, Esq.,
are sweet and scientific singers. They are pianists also.
_Misses Mary and Fannie Cole_, members of the Mozart Circle, are
distinguished for the beauty of their voices, the last-mentioned
particularly.
_Miss Sarah Werles_ has a voice which is much appreciated, and under
her fingers the cabinet-organ itself seems to sing.
_Misses Ella Smith_ and _Ella Buckner_ must not be forgotten as
valuable aids on public musical occasions.
Among the males, _James P. Ferguson_ is distinguished as a bass, and
_Thomas Monroe_ as a tenor singer.
_Joseph Henson's_ voice always has in it music of an inspiring
character.
_Fountain Lewis, jun._, was diligently prepared during his boyhood for
an organist, and in that direction is proving quite worthy of his
father's care.
By reference to a programme of a combined dramatic and musical
entertainment given in Cincinnati in May, 1876, under the direction of
the popular elocutionist, Powhatan Beaty, I find the names of the
following musical people not previously mentioned:--
Mr. Charles Hawkins performed "Streamlets" and "A Summer's Reverie" on
the piano; Mrs. Emma E. Clark sang the solo, "Brightest Eyes;" Mr.
Charles Singer sang a baritone solo; Mr. Edwin de Leon sang "Poor Old
Joe;" and Mr. William H. Jones sang "My Soul is Dark."
I am not informed as to the extent of proficiency displayed on this
occasion by these performers; but relying, as I ought, upon the good
judgment of Mr. Beaty, presume that he called none to his aid except
those at least fairly skilled in the rendering of music. The above
names are, therefore, recorded here.
The city of Chicago contains quite a large number of very excellent
musicians belonging to the race whose acquirements are here recorded.
Besides several very fine church-choirs, there is a large organization
of well-trained vocalists, the performances of which have been highly
spoken of by the journals of Chicago and those of other cities in the
State of Illinois.
_Mrs. Frances A. Powell_, the founder and directress of this society,
is also the leading soprano of the Olivet Baptist Church choir. She
was educated at Buffalo, N.Y.; and her superior powers as a vocalist
have been made the occasion of very flattering testimonials by the
press of Chicago and of the States of Illinois and Wisconsin.
_Mrs. Harriett E. Freeman_, an excellent mezzo-soprano, leading the
singing of Quinn-Chapel choir, has been complimented by the press. She
was educated at New Bedford, Mass.
_Mrs. Charlotte M. Alexander_, leading soprano of Bethel-Church choir,
was educated at Cincinnati.
_Mrs. Bessie Warwick_, soprano and brilliant pianist, was formerly a
pupil of Professor Baumback of Chicago.
_Mrs. Hettie Reed_ possesses a contralto-voice of remarkable purity
and sweetness. She is one of the principal singers of the society
first mentioned, and has been highly complimented by the critics of
Illinois and Wisconsin.
_Miss Eliza J. Cowan_, educated at Chicago, a member of the
Olivet-Church choir, is a very promising contralto-singer.
_Miss Flora Cooper_ has a voice of such great depth, that it really
may be styled baritone. She was educated in Chicago, and is a teacher
in one of the public schools of that city.
_Mrs. Esther Washington_ (_née_ Miss E. Fry) is a finished performer
on the organ and piano-forte. This lady is a graduate in thorough-bass
and harmony from Warren's Conservatory of Chicago.
_Miss Frankie Buckner_, an accomplished organist and pianist, received
her training at Detroit. She has been praised by the papers of
Madison, Wis.; was at one time pianist to a large singing society: and
is a contralto vocalist.
_Mr. William D. Berry_ is a finely-cultured tenor, a ready reader of
music, and excellent in oratorio performance. Mr. Berry formerly lived
in Hamilton, Ont.
_Miss Ida Platt_ is a brilliant pianist.
_Mr. Elias Perry_ is a young tenor-singer with a very pleasing voice.
He is a member of Olivet-Church choir.
_Mr. John F. Ransom_, baritone and organist, is a musician of
excellent culture, possessing one of the finest male voices in
Chicago. He was educated at Columbus, O. Is organist of Olivet Church.
_Mr. George W. Mead_ is leading basso of the singing society
heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his
music with correct and very pleasing expression. He has been favorably
mentioned, in connection with others with whom he has performed, by
the papers of Chicago.
All of the persons whose names are included in the list just closed
read music at sight, and are entitled to be ranked as artists.
II.
SOME MUSICAL PEOPLE OF THE SOUTH.
"Songs from the sunny South-land."--A.K. SPENCE.
The colored people of the South are proverbially musical. They might
well be called, in that section of the country, a race of troubadours,
so great has ever been their devotion to and skill in the delightful
art of music. Besides, it is now seen, and generally acknowledged,
that in certain of their forms of melodic expression is to be found
our only distinctively _American_ music; all other kinds in use being
merely the echo, more or less perfect, of music that originated in the
Old World. All who have listened to the beautiful melody and harmony
of the songs sung by those wonderful minstrels, the "Jubilee Singers,"
will readily admit that scarcely ever before the coming of the latter
had they been so melted, so swayed, so entirely held captive, by a
rendering of music; nor will they fail to admit that in these
"slave-songs" of the South was to be found a new musical idea,
forming, as some are wont to term it, a "_revelation_."
And if it were necessary to prove that music is a language by which,
in an elevated manner, is expressed our thoughts and emotions, what
stronger evidence is needed than that found in this same native music
of the South? for surely by its tones of alternate moaning and
joyousness--tones always weird, but always full of a ravishing
sweetness, and ever replete with the expression of deepest pathos--may
be plainly read the story of a race once generally languishing in
bondage, yet hoping at times for the coming of freedom.
Of the character of this music, and of its effect upon those who hear
it, no one speaks more clearly than does Longfellow in the following
lines from his poem, "The Slave singing at Midnight:"--
"And the voice of his devotion
Filled my soul with strange emotion;
For its tones by turns were glad,
Sweetly solemn, wildly sad."
Mrs. Kemble, in writing of life on a Southern plantation, tells how on
many an occasion she listened as one entranced to the strangely-pleasing
songs of the bond-people. Often she wished that some great musician
might be present to catch the bewitching melodies, and weave them into
a beautiful opera; for she thought them well worthy of such treatment.
It is often said that the colored race is naturally musical. Certainly
it is as much so as other races. More than this need not be, nor do I
think can be, claimed. It is, however, very remarkable, that a people
who have for more than two hundred years been subjected, as they have,
to a system of bondage so well calculated, as it would seem, to
utterly quench the fire of musical genius, and to debase the mind
generally, should yet have originated and practised continually
certain forms of melody which those skilled in the science consider
the very soul of music. Moreover, one is made to wonder how a race
subjected to such cruelties could have had the heart to sing at all;
much more that they could have sung so sweetly throughout all the dark
and dismal night of slavery. Here is seen, it must be admitted, what
appears very much like genius in the melody-making power. Something it
is, undoubtedly, that shows an innate comprehension, power in
expression, and love of harmony, in a degree that is simply intense.
The history of the colored race in this country establishes the fact,
too, that no system of cruelty, however great or long inflicted, can
destroy that sympathy with musical sounds that is born with the soul.
Only death itself can end it here on earth, while we are taught that
for ever and ever heaven shall be rich in harmony formed by the songs
of the redeemed. Perhaps other races, under the same terribly trying
circumstances, would have shown a power to resist the mind-destroying
influences of those circumstances equal to that which has been so
fully shown by the colored race. But, be that as it may, the latter
has actually been subjected to the awful test; and the sequel has
proved, that, to say the least, it may be considered as the equal
naturally of any of the other "musical" races composing the human
family.
But the music of which I have been speaking was never cradled, so to
say, in the lap of science; although, in its strangely-fascinating
sweetness, soulfulness, and perfect rhythmic flow, it has often quite
disarmed the scientific critic. It is a kind of natural music. Until
quite recently no attempt was made to write it out, and place its
melodies upon the printed music-page. Slavery, of course, prevented
that. And this vile system, although it could not stamp out the
"vocal spark," the germ of great musical ideas, could still prevent
such growth of the same, such elaboration, as would have been secured
by education in a state of freedom. Yet, since the war, many of the
religious slave-songs of the South, words and music, have been
printed. It has been found that they are as subject to the laws of
science as are others; that they were not, as many persons have
supposed, merely a barbarous confusion of sounds, each warring, as it
were, against the other. For a proof of this (if there be those who
doubt), the reader is referred to the "History of the Jubilee Singers
of Fisk University," in which he will find printed the music of many
songs like those to which I have alluded.
Thus have we considered, in part, the native minstrelsy of the South.
Notwithstanding their lack of a scientific knowledge of music, colored
men, as instrumentalists, have long furnished most of the best music
that has been produced in nearly all of the Southern States. At the
watering-places, orchestras composed of colored musicians were always
to be found; in fact, at such places their services were considered
indispensable. Many of them could not read music; but they seemed
naturally full of it, and possessed a most remarkable faculty for
"catching" a tune from those of their associates who learned it from
the written or printed notes: in truth, the facility of all in
executing some of the most pleasing music in vogue was so great, that,
when these little orchestras played, it was almost impossible to
discover the slightest variation from the music as found on the
printed page.
"A good many years ago," writes a correspondent from the White Sulphur
Springs of Virginia, "the statesman Henry Clay was here, enjoying a
respite from his arduous government duties. Being present at a grand
reception where dancing was in progress, Mr. Clay wished to have
played the music for a 'Virginia Reel;' but, to his great surprise, he
learned that the colored musicians present did not know the necessary
tune. Not to be cheated out of an indulgence in this, his favorite
dance, Mr. Clay took the band over to a corner of the room, and
_whistled_ the music to them. In a very few minutes they 'caught' it
perfectly; and, returning to their places, the enterprising statesman
and his friends enjoyed themselves in dancing the 'Virginia Reel' just
as though nothing unusual had occurred." At levees, at other public
festive gatherings, and at the receptions given in the homes of the
wealthy, these orchestras were nearly always present, adding to the
enjoyments of the hour by discoursing the most delightful music. In
short, they were to be found everywhere, always receiving that warm
welcome with which a music-loving people ever greet the talented
musician.
But, besides the associations of which I have just been
speaking,--associations composed in part of those who understood music
as a science, and in part of those who did not,--there has always been
a goodly number of other persons of the same race, who, in spite of
obstacles that would seem to be insurmountable, have obtained a fair
musical education, and who have exhibited an artistic skill and
general æsthetic love and taste that would be creditable to many of
those who have enjoyed far greater advantages for culture.
I shall now proceed to mention the names of only a few of such persons
residing in some of the principal towns and cities of the South. The
list could be largely extended did time and space permit.
Baltimore, Md., has quite a number of musical people well worthy of
mention in this connection. The following are members of the choir of
St. Mary's Episcopal Church, of which the Rev. C.B. Perry is rector:--
_Mr. H.C. Bishop_, general director; _Mr. W.H. Bishop_, precentor; _J.
Hopkins Johns_ (who has a very pleasing voice); _Mr. J. Taylor_ (a
fine basso, who has been a member of a meritorious concert-troupe);
_Mr. C.A. Johnson_, organist; and _Mr. George Barrett_, tenor. Mr.
Johnson has on several occasions been the director of excellent public
concerts in Baltimore and its vicinity, and is deserving of much
praise for his activity in promoting the music-loving spirit. The same
may be said of Mr. George Barrett.
_Mr. Joseph Ockmey_ is organist of the Bethel (Methodist) Church.
The following are members of the Sharp-street Church choir:--
_Mr. Simpson_, leader; _Mr. Dongee_, organist; _Miss Mary F. Kelly_,
soprano; _Miss Emma Burgess_, soprano.
Baltimore has an association of musicians called "The Monumental
Cornet Band," of which Mr. C.A. Johnson is the efficient leader.
Some time ago I found in the musical column of "The Boston Herald" of
Sunday, July 9, 1876, the following notice of another "Blind Tom:"--
"A rival of 'Blind Tom' has been found at Blount Springs,
Ala., in the person of James Harden, a colored boy from
Baltimore. He plays the guitar, and sings the most difficult
music, exceptionally well; and is also something of a
composer. He has received no instruction, but is most
emphatically a natural-born musician."
Louisville, Ky., shows its appreciation of music by organizing a
society devoted to the latter, numbering over a hundred persons. This
fact has attracted the attention of Brainard's "Musical World," which
journal, in the number for October, 1877, alludes to it as a bright
evidence of the dawn of better times in the South.
In St. Louis[17] live _Mrs. Georgetta Cox_ and _Miss Nellie
Banks_,--two ladies who have won golden opinions for their exhibition
of fine musical qualities. They are both excellent vocalists and
pianists.
[Footnote 17: St. Louis is placed in this section of the record
because the latter is devoted to such localities as before the war
were within slave territory.]
_Mr. L.W. Henderson_ as a vocalist, _Mr. Alfred White_ and _Mr. Samuel
Butler_ as vocalists and instrumentalists, all possess artistic
abilities of a fine order.
_Miss Johnson_ has attracted the attention and won the high praise of
competent judges for her proficiency in piano-forte performance.
_Mr. James P. Thomas_ is a finished violinist.
With such artists as the above mentioned, and others whose names I
have not learned, it will be seen that the city of St. Louis is not
behind in musical culture.
Helena, Ark., is fortunate in numbering among its citizens _George
H.W. Stewart_,--a gentleman of rare musical and general culture. He
was, I think, educated in Indiana, and received a diploma as a
graduate from a college of music located at Indianapolis. Mr.
Stewart's specialty as a performer is the piano, with which instrument
he finely interprets the best music of the masters. He has also a
soft yet powerful baritone-voice; and, as a singer, he has often
delighted private and public audiences.
_Miss Annie S. Wright_ of Memphis, Tenn., has few equals in that State
as a ready reader of music, or in the feeling and expression with
which she awakes the echoes of the piano-forte.
In Memphis there are several others possessing good ability as
instrumentalists.
No fears need be entertained that Nashville, Tenn., will not keep pace
with the advance of other cities in musical culture. The famous
Jubilee Singers of Fisk University, located near Nashville, may well
be mentioned here as noble representatives of that city, and as those
whose splendid example and achievements as singers will always serve
as a stimulus to the cultivation of music by their towns-people.
I mention here with much pleasure the _Lord family_ of Charleston,
S.C. The father was a musician of good ability, a pleasing performer
on the cornet and (I think) one or two other instruments, and was
leader of an orchestra. He early gave his two daughters instruction in
music.
I recall with much interest a visit I made this accomplished family
early in 1865, when the regiment with which I was connected lay
encamped near Charleston. On this occasion, after our indulgence in
conversation touching the war, &c., I begged that I might be favored
with some music. The request was readily complied with, the father and
daughters uniting in a performance of several very pleasing
selections.
Other members of my regiment, I know, also retain very pleasant
recollections of the Lord family, not only on account of the charming
musical qualities of the latter, but also on account of their winning
courtesy to the Union soldiers. One of these was so far captivated (it
could not have been by the music alone) by the elder daughter, as to
invite her to adorn as his bride a home of his own. Our gallant
Sergeant White was accepted; and the lady has since shared with him
the enjoyment of many honors which his fine abilities have won for him
in the "sunny South."
Mr. Lord died a few years ago. His example in inculcating in his
children a love for the elevating art of music cannot be too strongly
recommended for the imitation of all heads of families who desire to
form at their firesides such sources of interest, refinement, and
pleasure, as will cause their children to prefer them, as they ever
should, to all places not comprised in the sacred name of "home."
In making this brief survey, another locality of the South is now
approached, which is so rich in musical culture as to occasion (at
least to the writer) delightful surprise, and warrant special mention
of the circumstances connected with the same. I refer to the city of
New Orleans, which will be treated in the next chapter.
III.
NEW ORLEANS.
THE MUSICAL AND GENERAL CULTURE OF ITS COLORED CITIZENS.
"Though last, not least."
SHAKSPEARE.
Before the late war, the city of New Orleans was often styled "the
Paris of America." The Province of Louisiana, originally settled by
the French, and until 1812, when it became a State of the American
Union, contained a population naturally distinguished by the same
general characteristics as those which marked the people of France.
The Frenchman has for a long time been proverbially a devotee of the
fine arts; and of these that gay and brilliant city Paris--which has
ever been to its enamoured citizens not only all France, but all the
world--became for France the centre.
Here, then, a love of that beautiful art, music, since the days,
hundreds of years ago, of the courtly _ménestrels_, has been a
conspicuous trait in the character of the people. Of course, in
leaving Paris and France, and crossing the seas,--first to Canada, and
then to Louisiana,--the Frenchman carried with him that same love of
the arts, particularly that of music, that he felt in fatherland. And
so New Orleans, which in time grew to be the metropolis of Louisiana,
became also to these French settlers the new Paris. In fact, even for
years after the State was admitted into the Union, and although
meanwhile immigration had set in from other parts of the country, New
Orleans remained of the French "Frenchy." The great wealth of many of
its citizens, their gayety, their elegant and luxurious mode of
living, their quick susceptibility to the charms of music, their
generous patronage of general art, together with certain forms of
divine worship observed by a large number of them,--all this served
for a long time to remind one of the magnificent capital of France.
The opera, with its ravishing music, its romance of sentiment and
incident, its resplendent scenery, and the rich costumes and brilliant
delineations of its actors,--all so well calculated to charm a people
of luxurious tastes,--has always been generously patronized in New
Orleans; and so, too, have been the other forms of musical
presentation. Amateur musicians have never been scarce there: such
persons, pursuing their studies, not with a pecuniary view (being in
easy circumstances), but simply from a love of music, have ever found
congenial association in the city's many cultured circles; while many
others, who, although ardently loving music for its own sake, were yet
forced by less fortunate circumstances to seek support in discoursing
it to others,--these have always found ready and substantial
recognition in this music-loving city.
But does all I have been saying apply to the colored people of New
Orleans as well, almost, as to the others? Strange to say, it does.
Natural lovers of the "art divine," and naturally capable of musical
expression,--they too, although with far less of advantages for
culture than the others, have with voice and instrument, and even as
composers, helped to form the throng of harmonists, playing no mean
part in the same. The colored people of New Orleans have long been
remarked for their love of and proficiency in music and other of the
elegant arts. Forty years ago "The New-Orleans Picayune" testified to
their superior taste for and appreciation of the drama, especially
Shakspeare's plays. A certain portion of these people, never having
been subjected to the depressing cruelties of _abject_ servitude,
although, of course, suffering much from the caste spirit that
followed and presented great obstacles to even such as they, were
_allowed_ to acquire the means for defraying the expenses of private
instruction, or for sending their children to Northern or European
schools. Indeed, as regards the exhibition of this ambitious musical
spirit, this yearning for a higher education and a higher life, these
people often exceeded those of fairer complexions; many of their sons
and daughters attaining to a surpassing degree of proficiency in
music, while they became noticeable for that ease and polish of
manners, and that real refinement of living, which ever mark the true
lady or gentleman.