circumstances of their situation, were far less fortunate than even
those of whom I have just been speaking: I mean those who were
directly under the "iron heel of oppression." Nevertheless, many of
these were so moved by a spirit of art-love, and were so ardent and
determined, as to have acquired a scientific knowledge of music, and
to have even excelled, strange to say, in its creation and
performance, in spite of all difficulties. As to just how a thing so
remarkable, nay, I may say wonderful, was accomplished, would form
many a story of most intense and romantic interest. But with present
limits I may not narrate the many instances of heroic struggle against
the foul spirit of caste prejudice, and the many noble triumphs over
the same, that belong to the lives of nearly if not quite all of the
artists of whom I shall presently briefly speak.
And here it is utterly impossible to resist the depressing effects of
that deep feeling of gloom which settles upon one as thoughts like the
following crowd into the mind. How much, how very much, has been lost
to art in this country through that fell spirit which for more than
two hundred years has animated the majority of its people against a
struggling and an unoffending minority,--a spirit which ever sought to
crush out talent, to quench the sacred fire of genius, and to crowd
down all noble aspirations, whenever these evidences of a high manhood
were shown by those whose skins were black! Ah! we may never know how
much of grandeur of achievement, the results of which the country
might now be enjoying, had not those restless, aspiring minds been
fettered by all that was the echo of a terrible voice, which, putting
to an ignoble use the holy words of Divinity, cried up and down the
land unceasingly, "_Hitherto shalt thou come, but no farther!_" For to
judge as to what "might have been," and what yet may be, despite the
cruelties of the past (since, even in this instance, "the best prophet
of the future is the past"), we have only to look at what is. But from
those bitter days of a barbarous time, when hearts were oft bowed in
anguish, when tears of blood were wept, and when often attempts were
made to dwarf yearning intellect to a beastly level,--let us turn
quickly our weeping eyes from those terrible days, now gone, we hope
never again to return, towards that brighter prospect which opens
before our delighted vision: let us joyfully look upon what is, and
think of what may be. For
"The world is cold to him who pleads;
The world bows low to knightly deeds."
Returning, then, directly to the subject in hand (viz., the colored
musical artists of New Orleans), I first quote from a paper prepared
by a cultured gentleman of that city, himself a fine musician, the
following retrospective comment on some of the former residents
there:--
"For want of avenues in which to work their way in life, and for many
reasons which are easily understood, our best artists [colored]
removed to other countries in search of their rights, and of proper
channels in which to achieve success in the world. Among these were
Eugène Warburg, since distinguished in Italy as a sculptor; Victor
Séjour, in Paris, as a poet, and composer of tragedy; Caraby, in
France, as a lawyer; Dubuclet, in Bordeaux, as a physician and
musician; and many others." All these were forced to leave New
Orleans, their native city, because of the prejudice that prevailed
against them on account of their color. In other countries, which
Americans have been wont to style, forsooth, "despotic," these
aspiring men found ready recognition, and arose, as has been seen, to
high distinction in their chosen callings.
Of a few others who for these same reasons left their native city and
went abroad, as well as of a large number of talented, educated
musical people who remained in New Orleans, I shall now speak.
_The Lambert family_, consisting of seven persons, presents the
remarkable instance of each of its members possessing great musical
talent, supplemented by most careful cultivation.
_Richard Lambert_, the father, has long been highly esteemed as a
teacher of music. Many of his pupils have attained to a fine degree of
proficiency as performers of music, and some of them are to-day
composers.
_Lucien Lambert_, very early in life, attracted attention by his
ardent devotion to the study of music. He used to give six hours of
each day to practice, and became a pianist of rare ability. With a
style of performance really exquisite, he has always excited the
admiration, and sometimes the wonder, of his auditors, by easy
triumphs over all piano difficulties. But his genius and ambition were
such, that mere performance of the music of others did not long
satisfy him. He became a composer of great merit. A man of high soul,
he also, ere long, grew restive under the restraints, that, on account
of his complexion, were thrown around him in New Orleans. He longed to
breathe the air of a free country, where he might have an equal chance
with all others to develop his powers: and so, after a while, he went
to France; and, continuing his studies in Paris under the best masters
of the art, he rapidly attained to great skill in performance and in
composition. He finally went to Brazil, where he now resides, being
engaged in the manufacture of pianos. He is about fifty years of age,
a gentleman of imposing appearance. Lucien Lambert has written much
music. Below is given the titles of only a very small number of his
compositions:--
"La Juive;" "Le Départ du Conscrit" (fantasie march); "Les Ombres
Aimées;" "La Brésiliana;" "Paris Vienne;" "Le Niagara;" "Au Clair de
la Lune," with variations; "Ah! vous disais-je, Maman;"
"L'Américaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches
et Clochettes;" "Étude Mazurka."[18]
[Footnote 18: Only to those who have not read the introduction to
these sketches will it seem strange that the titles of these, and of
the works hereafter mentioned, although they are the creations of
Americans, are yet given in the French language. For the information
of such persons, I repeat in substance what has already been said,
that these authors, in adopting the course just referred to, have only
followed a custom which is most generally observed in the highest
art-circles of New Orleans, "the Paris of America,"--a custom, too,
which, no doubt, is in harmony with the tastes, as it is with the
acquirements, of the authors themselves, all of whom speak and write
the French language quite perfectly. It may be well to here say also,
that all of the above-mentioned works, and all others (not otherwise
specified) mentioned hereafter, bear the imprint of some one of the
principal music-publishers of the day, from whom, of course, copies
may be ordered, if desired.]
_Sidney Lambert_, stimulated by the instruction and good fame of his
father and the high reputation gained by his brother Lucien, and
himself possessing rich natural powers, soon became conspicuous for
brilliant execution on the piano-forte, and as a composer of music for
that and other instruments. He has also written a method for the
piano, the merits of which are such as to cause him to be lately
decorated for the same by the King of Portugal. He is now a professor
of music in Paris, France. Here is a partial list of pieces composed
and arranged by him:--
"Si j'étais Roi;" "Murmures du Soir;" "L'Africaine;" "Anna Bolena;"
"La Sonnambula;" "L'Élisire;" "Transports Joyeux;" "Les Cloches."
[Transcriber's Note: 'Les Clochettes' in the Appendix]
_Mr. E. Lambert_ is the very efficient leader and instructor of the
St. Bernard Brass Band. He is a line musician, performing with much
skill on several instruments.
_John Lambert_, only sixteen years of age, is already regarded as an
excellent musical artist. He was educated in St. Joseph School, New
Orleans. He seems almost a master of his principal instrument, the
cornet, playing with ease the most difficult music written for the
same. He is a member of the St. Bernard Band,--a very valuable member
too, since he can play a variety of instruments.
_The two Misses Lambert_ are accomplished pianists. One of them is an
excellent teacher.
_Edmund Dédé_ was born in New Orleans in the year 1829. He learned
first the clarinet, and became a good player. He afterwards took up
the violin for study, under the direction of C. Deburque, a colored
gentleman. After a while he took lessons of Mr. L. Gabici, who was at
one time chief of the orchestra of the St. Charles Theatre. Dédé was a
cigar-maker by trade. Being of very good habits, and economical, he
accumulated enough money after a while to pay for a passage to France,
where, on his arrival in 1857, he received a welcome worthy of a great
people and of so fine an artist. He is very popular, not only as a
violinist, but as a man, being of fine appearance, of amiable
disposition, and very polite and agreeable in his manners. While a
student in New Orleans, many were they who seemed never to grow tired
in listening to his peculiarly fine playing of the studies of Kreutzer
and the "Seventh Air Varié de Beriot." He is considered alike
remarkable in his perfect making of the staccato and the legato; is
very ardent in his play, throwing his whole soul into it; and meets
with no difficulties that he does not easily overcome. Mr. Dédé is now
director of the orchestra of "L'Alcazar," in Bordeaux, France. He is
of unmixed negro blood, and is married to a beautiful and accomplished
French lady.
The titles of only a very few of the works composed by Edmund Dédé can
now be given. They are as follows: "Le Sement [Transcriber's Note:
Serment] de l'Arabe," "Vaillant Belle Rose Quadrille" (this it was
called originally; but I believe the piece has been published under
another name), "Le Palmier Overture."
_Basile Barès_ [Transcriber's Note: corrected from Barés] was born in
New Orleans Jan. 2, 1846, and is what may be called a self-made man.
He to-day enjoys a fine reputation as a pianist and composer. His
studies on the piano were begun under Eugène Prévost, who was, in
years gone by, director of the Orleans Theatre and the opera-house
orchestras. Barès studied harmony and composition under Master
Pedigram. In 1867 he visited the Paris Exposition, at which he
remained four months, giving many performances upon the piano-forte.
Mr. Barès resides in New Orleans. I append this partial list of his
works: "La Capricieuse Valse," "Delphine Valse Brillante," "Les
Variétés du Carnaval," "Les Violettes Valse," "La Créole" (march),
"Élodia" (polka mazurka), "Merry Fifty Lancers," "Basile's Galop,"
"Les Cents Gardes" (valse), and "Minuit Polka de Salon."
_Professor Samuel Snaer_, a native of New Orleans, is in his
forty-fourth year, and is a musician of remarkably fine powers. He is
a brilliant pianist, and a most skilful performer on the violin and
violoncello. As a violoncellist he has but few equals anywhere. He is
an esteemed teacher of violin and piano, and is organist at St. Mary's
(Catholic) Church.
But Professor Snaer's musical abilities do not end with the
accomplishments just mentioned. He is, besides, a ready composer, and
has produced much music of a varied and very meritorious character.
Extreme modesty, however, has prevented him from publishing many of
his pieces. Generally his habit has been to sit down and compose a
piece, and then allow the manuscript to go the rounds among his
acquaintances. As he would make no request for its return, nor express
solicitude regarding its fate, the music rarely returned to the
composer; so that to-day the most unlikely place to find copies of his
works is at the professor's own residence.
Professor Snaer has a memory of most wonderful power. When he was
eighteen years old (that was twenty-six years ago), he composed his
"Sous sa Fenêtre." Without having seen this music for many years, he
can to-day write it out note for note. He remembers equally well each
one of his many compositions, some of which have been of an elaborate
and difficult character. He has lately rewritten from memory, for a
gentleman in Boston, a great solemn mass which he composed several
years ago. Those who are familiar with the original draught of this
mass say that the present one is its exact counterpart.
The following comprises in part a list of the works of Professor
Snaer:--
"Sous sa Fenêtre," published by Louis Grunewald, New
Orleans.
"Le Chant du Départ," published by Louis Grunewald, New
Orleans. (Two editions issued.)
"Rappelle-toi," published by Louis Grunewald, New Orleans.
(Two editions issued.)
"Grand Scène Lyrique" (solo and duetto).
"Graziella" (overture for full orchestra).
"Le Vampire" (vocal and instrumental).
"Le Bohémien" (vocal and instrumental).
"Le Chant des Canotiers" (trio); and a large number of
Polkas, Mazurkas, Quadrilles, and Waltzes.
Professor Snaer is also a man of letters, a _littérateur_; and in such
matters, as well as those of music, much deference is paid to his
judgment by his contemporaries.
_Mr. Henry Staes_ is a youth quite ardent in his study of the
piano-forte.
_Mr. Lanoix Parent_, formerly a member of the Philharmonic Society, is
a performer on the violin, viola, and some other instruments.
_Professor A.P. Williams_, born in Norwich, Conn., in 1840, is highly
esteemed as a vocalist and pianist. He is an efficient teacher of
vocal and instrumental music. He received his musical training from
his father, Mr. P.M. Williams, who, a native of Massachusetts, was a
proficient vocalist and organist. Professor Williams is a man of
decided intellectual merit, and is principal instructor in a
grammar-school in New Orleans.
_Mr. E.V. Macarty_, a native of New Orleans, was born in 1821. He
began lessons on the piano under Professor J. Norres. In 1840 he was
sent to Paris, where, through the intervention of Hon. Pierre Soulé
and the French ambassador to the United States, he was admitted to the
Imperial Conservatoire, although he was then over the age prescribed
for admission. At the Conservatoire he studied vocal music, harmony,
and composition. He has composed some pieces that have been
published, the names of which, however, are not known to the writer.
Mr. Macarty is especially distinguished as a vocalist: as a singer he
is full of sentiment, and very impressive; is a fine pianist; and much
admired, too, as an amateur actor. In the _rôle_ of Antony, in the
play of that name, by Alexandre Dumas, as well as in that of Buridan
in "La Tour de Nesle," by the same author, Mr. Macarty has won high
honors. He also has held several positions of trust under the State
government.
_Mr. F.C. Viccus_ is a gentleman of fine musical abilities, a
performer on the violin, cornet, and even other instruments.
_McDonald Repanti_, before going to Mexico, became one of the most
remarkable pianists of New Orleans. His trade in early life was that
of a worker in marble; and being very fond of music, and desirous to
study the piano, he used to work very hard at his trade during six
months of the year, and then devote the other six to severe study of
music, and practice on his favorite instrument. This he did under the
instruction of his brother, Fierville Repanti, who was formerly a
teacher of marked ability, and a composer of music. Fierville removed
to Paris, where he died some years ago.
_Maurice J.B. Doublet_ was born in New Orleans in the year 1831. In
that city he takes rank with the best violinists, and is highly rated
as a general musician. Modesty has kept him away from the public but
too often, since he possesses powers that would cause him always to be
the recipient of much applause from large and cultivated audiences. He
studied under L. Gabici. Mr. Doublet, as a violinist, is most
remarkable for the purity of the tones produced, and the faithfulness
he exhibits in giving expression to the composer's thoughts. These
qualities, which it seems were given him by nature, are also
noticeable in all of his pupils. Mr. Doublet is also a composer, but
is so modest as to hide from the general public all that he has done
in that line.
_Dennis Auguste_ was born in New Orleans in 1850, and is therefore
twenty-seven years of age. Although so young, he is regarded as a fine
musician. He grew to manhood in the family of Col. Félix Labatut, by
whom and his wife Dennis was treated as a son. Mr. and Mrs. Labatut,
who were a noble and high-minded couple, of well-known liberal ideas,
spared no pains to give their charge a thorough education. Teachers
were employed to instruct him in many branches of learning. Mr. Ludger
Boquille, a colored gentleman, became his teacher in French; Prof.
Richard Lambert gave the youth his first lessons in music and on the
piano; Prof. Rolling, a well-known artist, directed him in the same
studies afterward; while in vocal music, harmony, and composition, he
became proficient under Mr. Eugène Prévost. Mr. Auguste has proved
himself worthy of the care that was given to his training by his
Christian-like guardians and faithful teachers. As a performer he is
held in high esteem, and is often employed by the best families of
both races in his native city.
_Henry Corbin_, for several years a resident in New Orleans, was born
in Cincinnati, O., in the year 1845. He learned the violin under a
German teacher and under Professor Bonnivard. He has played as an
amateur on many occasions at concerts, and always with marked
acceptance to his audiences. Mr. Corbin's musical achievements are
very fine, considering the great amount of time he has given to
employments connected with state and city government. He was at one
time private secretary to Gov. Pinchback; at another, secretary of the
Board of Directors of the Public Schools of New Orleans; and is now
tax-collector for the Sixth District in that city.
_J.M. Doublet_ is only eighteen years of age, but is considered
already a violinist of excellent ability. He has studied music under
the direction of his father, J.B.M. Doublet.
_Adolphe Liantaud_ is one of the best performers on the cornet in New
Orleans: indeed, for purity and smoothness of tone, as well as power,
he is regarded as most remarkable.
_Mr. Henry Berrot_ is considered an excellent player on the
contra-bass, although beginning its practice only a few years ago, and
at an age when most persons would despair of acquiring a knowledge of
that or any other instrument.
_Mrs. P. Casnave_ is a brilliant pianist.
_Miss Macarty_ has on several occasions appeared at public concerts,
and has always been received with marked favor. She is quite studious,
and renders difficult and classical compositions for the piano in a
most creditable manner.
As may be readily supposed of a community like that of New Orleans,
where there is a large colored population composed of so many people
of culture, the gentler sex are only behind the other, in possessing a
knowledge of music, to that extent which has been caused by those
unreasonable, unwritten, yet inexorable rules of society, that have
hitherto forbidden women to do more than learn to perform upon the
piano-forte and guitar, and to sing. But among the ladies of New
Orleans there are many who may be called excellent pianists, and those
who, possessing good voices, sing the choicest music of the day with a
fine degree of taste and expression. Most of these (only a few of them
are performers in public), by their musical culture, and the
possession of those general graces of a beautiful womanhood,--graces
the possession of which
"Show us how divine a thing
A woman may become,"--
add to the adornments and refining pleasures of many private circles,
and thus keep pace with their male relatives and friends in
demonstrating the intellectual equality of their race. It would,
however, take up far too much of space to here present a larger number
of the names of these accomplished ladies than has already been given;
and it is therefore hoped that the latter,--fair representatives of
many others that might be given,--and the general mention just made,
may suffice.
Returning to the other sex, I first refer to _Constantin Deberque_,
who is a musician of fine ability, a teacher of great skill, and a
gentleman of good general culture. Mr. Deberque will again be
mentioned on a succeeding page.
_Dr. E. Dubuclet_ is a finished violinist. He is a brother of Dr.
Dubuclet, heretofore mentioned as having removed to Bordeaux, France.
_The Dupré family_ are remarkable for their excellent musical
qualities. Each of the brothers, Ciel, Lucien, and Esebe, play upon
several instruments; while their two sisters are also well versed in
music.
_Mr. Raymond Auguste_, as a cornetist, is quite noticeable for the
purity, strength, and fine expression of the tones he produces.
_Eugène Convertie_ is a classical student; wins golden opinions for
his piano performances; and has been highly esteemed as a teacher of
that instrument. He is now succeeding as a dry-goods merchant in New
Orleans.
_Mr. Kelly_, band-director, is very effective as a performer on the
cornet.
_Mr. Émile Ricard_ is regarded as a good pianist and teacher.
_Joseph A. Moret_ is a violin-player, to whom all listen with
pleasure. He was first a pupil under Professor Snaer, and afterwards
studied under Professor Bonnivard. Mr. Moret, having been instructed
by such good teachers, possessing much natural talent, and being
withal so young, has before him a brilliant future.
_Joseph Mansion_ is an amateur violinist, and a gentleman of much
intelligence. He was formerly a member of the Louisiana House of
Representatives, and is now State-tax assessor.
_Joseph Bazanac_ was an excellent performer on the flute and bassoon,
and a teacher of music. He was, besides, acknowledged as a skilful
instructor in the French and English languages. He died a few months
ago.
_Charles Martinez_, who died in 1874, was most remarkable for
proficiency in performance upon a great number of instruments,--being
an artistic guitarist and violinist, a player upon the contra-bass,--and
was also a good singer. Being of an ambitious turn of mind, Mr.
Martinez studied, without a teacher, to become a notary-public, and
was appointed as such.
_Professor Thomas Martin_ was at a time one of the first musicians of
New Orleans and of Louisiana, being without an equal as a guitarist,
was a great performer on the violin and piano-forte, and played even
other instruments. He was also a fine vocalist, a ready and good
composer, and was much celebrated for abilities in teaching music. A
fine-looking man, very agreeable and gentlemanly in his manners,
Professor Martin soon won his way against all obstacles, and became
the favorite musical instructor not only of those of his own race, but
also of many persons connected with the most aristocratic white
families of New Orleans and its vicinity. This once talented musician
is now no more; he having died some years ago in Europe, as I am
informed.
_Octave Piron_ was once very prominent as an excellent vocalist and
guitarist. He devotes his attention now more to the contra-bass, upon
which instrument he is regarded as a good performer.
_J.M. Holland_ is a young man who gives much promise of becoming an
excellent pianist.
And thus I might go on and on, mentioning name after name, and
achievement after achievement; but warned by the great number of pages
already devoted to these praiseworthy musical people of New Orleans,
and believing that enough has been presented to serve the object had
in view when these notices were begun, I will shortly close this
record.
As a sample of the concerts frequently given in New Orleans by
_amateur_ musicians of the colored race, I append this programme of
one lately given:--
[Illustration:
GRAND
Vocal and Instrumental Concert,
ON OCTOBER 14, 1877,
IN
Masonic Hall, cor. of St. Peter and Claude Streets,
UNDER THE DIRECTION OF
LOUIS MARTIN, ASSISTED BY HIS AMATEUR FRIENDS.
PROGRAMME.
=Part First.=
1. OVERTURE.--"La Muette de Portici" ORCHESTRA.
2. THE FAVORITE.--"Prière."--_Donizetti_ Miss Mc----.
3. LE BOHÉMIEN.--_Samuel Snaer_[19] Mr. O.P.