4. SYMPHONY.--For Two Violins and Piano, { L.M_Music and Some Highly Musical People

{ and Miss A.F.

5. MY SUNDAY DRESS.--Song Jos. L., Jun.

=Intermission.--Part Second.=

6. OVERTURE.--"Sémiramis" ORCHESTRA.

7. JUDITH.--_Concone_ Miss R.F.

8. THE ENCHANTRESS.--Fantasie for Violin L.M.

9. L'EXTASE.--Valse brillante.--_L'Arditi_ Miss F.

10. FORTUNIO'S SONG.--"Alsacian Dream" Jos. L., Jun.

=Intermission.--Part Third.=

11. OVERTURE.--"La Dame Blanche" ORCHESTRA.

12. CONSTANTINOPLE.--_A. Loyd_ Miss R.F.

13. UNE DRÔLE DE SOIRÉE.--Scène Humoristique, J.A. COLLIN.

Miss A.F. will preside at the Piano.

The Orchestra under direction of Mr. LOUIS MARTIN.

DOORS OPEN AT 6.----CONCERT TO BEGIN AT 7 PRECISELY.]

[Footnote 19: This composer has been previously mentioned in these

sketches. "Le Bohémien" is one of several of Professor Snaer's pieces

that show him to be a writer of fine abilities.]

From the notes of a musical critic of New Orleans I learn that this

concert was in all respects a fine success. The different overtures

were well executed by an _ensemble_ of twenty instrumentalists, all

colored men; while all the numbers on the programme were rendered,

generally, in a manner that would have been creditable, even had the

performers been, as they were not, professionals.

The audience was a large and brilliant one, composed of members of

both races, and was quite demonstrative in the bestowment of applause

and in floral offerings. As at first remarked, concerts like the one

just described are frequently given in New Orleans.

New Orleans has several fine brass bands among its colored population.

"Kelly's Band" and the "St. Bernard Brass Band" deserve particular

mention here. The "St. Bernard" is composed of a very intelligent

class of young men, studious, and of excellent moral character; in

fact, they form a splendid corps of musicians, equalled by but few

others, and excelled by none. With these two bands and some others,

the names of which I have not now at hand, the people of New Orleans

are always well supplied with the best of martial music.

Before the late war, the city had an association of colored men called

the "Philharmonic Society." Several liberal-minded native and foreign

gentlemen of the other race were always glad to come and play with the

"Philharmonics" overtures and other music of a classical character.

This was really a scholarly body of musicians, with whom the very best

artists of any race might well be proud to associate. Constantin

Deberque and Richard Lambert were among those, who at times directed

the orchestra. Eugène Rudanez, Camille Camp, Adolph Angelaine, T.

Delassize, Lucien and Victor Pessou, J.A. Bazanac, Charles Martinez,

and over one hundred other amateur musicians, added a lustre to the

good name of the colored men of New Orleans, even during the gloomy

days of oppression. These men with all their souls loved music and the

drama; but were kept away from the grand opera, from concerts and

theatrical performances, because they would not submit to the

degradation of sitting in a marked place designated "for colored

persons." Nevertheless, they were not to be deterred from following

that bent of their minds which a love of art directed; and so, thrown

entirely upon their own resources, these high-minded men formed the

"Philharmonic Society" and other musical associations, finding in the

same much to compensate them for what they lost by being debarred from

entering those circles of culture and amusement, the conditions of

entrance to which were, not a love of and proficiency in art, but that

ignoble and foolish one, the mere possession of a white face.

* * * * *

And thus has been briefly and (as the writer fears) imperfectly told

the story of these highly musical people of New Orleans. Bearing in

mind the great and manifold difficulties against which they ever had

to struggle,--not only such difficulties as all must encounter who

study the science of music, but also those far, far greater ones that

are caused by color-prejudice, the extent of whose terrible, blighting

power none can ever imagine that do not actually meet it,--bearing in

mind, I say, all these obstacles, and their triumphs over the same, it

will be seen that much has been accomplished that may be considered

really wonderful. As better opportunities for culture, and that

fulness of recognition and appreciation without which even genius must

languish and in many cases die,--as these come to them, as come they

surely will in this new era of freedom,--then will such earnest

votaries as have here been mentioned, with

"No fears to beat away, no strife to heal,

The past unsighed for, and the future sure,"--

attain to even greater degrees of proficiency and eminence in that

noble art of which Pope thus beautifully sings:--

"By Music, minds an equal temper know,

Nor swell too high, nor sink too low.

If in the breast tumultuous joys arise,

Music her soft, assuasive voice applies,

Or, when the soul is pressed with cares,

Exalts her in enlivening airs;

Warriors she fires with animated sounds;

Pours balm into the bleeding lover's wounds;

Melancholy lifts her head;

Morpheus rouses from his bed;

Sloth unfolds her arms, and wakes;

Listening Envy drops her snakes;

Intestine war no more our passions wage;

And giddy factions bear away their rage....

Music the fiercest grief can charm,

And Fate's severest rage disarm;

Music can soften pain to ease,

And make despair and madness please;

Our joys below it can improve,

And antedate the bliss above."

APPENDIX.

MUSIC.

PREFACE TO THE MUSIC.

It is deemed necessary to offer a few words of explanation touching

the music printed on the following pages.

The collection is given in order to complete the author's purpose,

which is not only to show the proficiency of the subjects of the

foregoing sketches as interpreters of the music of others, but,

further, to illustrate the ability of quite a number of them (and,

relatively, that of their race) to originate and scientifically

arrange good music.

For want of space, only a few selections have been made from the many

compositions in the writer's possession; and, for the same reason,

only parts of several works, somewhat elaborate in character, have

been given; the latter curtailment having been made in the cases of

the following: "The Pilgrim" (a grand overture, originally occupying

about twenty pages, sheet-music size), only one-third of which appears

in this collection; of an elegant arrangement of the air of "Au Clair

de la Lune" (containing Introduction, Theme, First, Second, and Third

Variations, and Finale), only the "Theme" and Third Variation are

given; of the Parisian Waltzes (a set of five), only the introduction,

coda, and Waltz No. 3 are given; of "Les Clochettes,"--fantaisie

mazurka,--only a part appears; and so of "La Capricieuse;" while, of

the "Mass," only two movements appear, the "Gloria" and "Agnus Dei."

The attention of all who shall examine the music is particularly

called to the above statements, in order that there may be no

surprises, and no injustice done the composers.

In two instances only have very long compositions been reprinted in

full. The first (the "Anthem for Christmas") is so given as a mark of

respect to the memory of a pioneer musician, now deceased; and the

second ("Scenes of Youth"), because a different treatment would

seriously interrupt a continuous description which has been so vividly

given by a young and talented composer.

The author of "Welcome to the Era March" is less than eighteen years

old. The author of "Rays of Hope" has just attained to his majority.

But none of the foregoing statements are made as excuses; nor, on the

other hand, is there any intention on the writer's part to present

them in a boasting way. The collection of music is submitted to the

candid consideration of all music-loving people, with the hope that it

may add to their enjoyment, and help to serve the purposes for which

this book was prepared.

CONTENTS TO THE MUSIC.

PAGE

ANTHEM FOR CHRISTMAS (_William Brady_) 4

WELCOME TO THE ERA MARCH (_Jacob Sawyer_) 22

ANDANTE (_Guitar_) (_Justin Holland_) 26

THE PILGRIM (_Overture_) (_J.T. Douglass_) 30

PARISIAN WALTZES (_H.F. Williams_) 44

LE SERMENT DE L'ARABE (_Dramatic Chant_) (_Edmund Dédé_) 53

LA CAPRICIEUSE WALTZ (_Basil Barès_) 60

AU CLAIR DE LA LUNE (_Lucien Lambert_) 69

LAURIETT (_Ballad_) (_H.F. Williams_) 81

LES CLOCHETTES (_Fantaisie Mazurka_) (_Sidney Lambert_) 86

RAYS OF HOPE MARCH (_W.F. Craig_) 96

SCENES OF YOUTH (_Descriptive_) (_F.E. Lewis_) 101

MASS FOR THREE VOICES (_"Gloria" and "Agnus Dei"_) (_S. Snaer_) 127

[Music: ANTHEM FOR CHRISTMAS.

_Composed and Arranged by WM. BRADY. N.Y. 1851._

There were Shepherds abiding in the fields,

Keeping watch over their flocks by night,

And so the angel of the Lord came upon them,

and the glory of the Lord shone round about them,

And they were sore afraid,

and the angel said unto them,

Fear not, for behold I bring you glad tidings,

Glad tidings of great joy,

glad tidings of joy, tidings of joy, glad tidings of joy,

glad tidings, glad tidings,

glad tidings, glad tidings.

Fear not, fear not for behold,

I bring you glad tidings, glad tidings of joy,

glad tidings of joy, glad tidings of joy,

Which shall be to all people,

For unto you is born this day in the city of David

a Saviour, a Saviour, who is Christ the Lord,

who is Christ the Lord, who is Christ the Lord,

Fear not, fear not for behold,

I bring you glad tidings, glad tidings of joy,

glad tidings of joy, glad tidings of joy,

glad tidings, glad tidings, glad tidings of joy.

And suddenly,

There was with the angel, a multitude, of the heavenly host,

Praising God, and saying,

Glory, Glory, Glory to God in the highest,

Glory to God, Glory to God, Glory to God in the highest,

Glory to God, Glory to God, Glory to God in the highest

and peace on earth, good will towards men,

good will, good will, good will towards men.

Glory to God, Glory to God, Glory to God in the highest

and peace on earth, good will towards men.

And peace on earth, good will towards men,

and peace on earth, good will towards men,

good will, good will, good will towards men,

and peace on earth good will towards men,

and peace on earth.]

[Music: _To Miss Florinda J. Ruffin, Boston._

WELCOME TO THE ERA.

MARCH.

_J. SAWYER._

[Music: AN ANDANTE.

_For the Guitar, by JUSTIN HOLLAND._]

[Music: THE PILGRIM.

GRAND OVERTURE.

_Composed by JOHN T. DOUGLASS._]

[Music: THE PARISIAN WALTZES.

_Composed by H.F. WILLIAMS._

[Music: LE SERMENT DE L'ARABE.

CHANT DRAMATIQUE.

_Paroles de A. DEMARTON._

_Musique d'Em. DÉDÉ._

[Transcriber's Note: Spelling errors in the lyrics have been corrected.]

Un jour il m'en souvient, mon père sous sa tente

Me fit sur l'Alcoran jurer mort aux Lions

Puis ayant sur mon front posé sa main sanglante,

Son âme s'envola vers d'autres régions

Au jour-d'hui que mon bras peut manier une arme,

Que ma haine a grandi comme a grandi l'enfant;

Lors qu'un rugissement au Douar met l'alarme,

Heureux je pars alors sous le soleil brûlant!

Est-il parles houris, de notre saint Prophète,

Par Allah tout puissant maître de l'univers;

Est-il plus nobles jeux, est-il plus belle fête,

Qu'une chasse aux Lions, dans nos vastes déserts?]

[Music: LA CAPRICIEUSE.

VALSE.

_BASILE BARÈS. Op. 7._

[Music: AU CLAIR DE LA LUNE.

(VARIATIONS ET FINAL SUR L'AIR.)

_LUCIEN LAMBERT. Op. 30._]

[Music: _Respectfully Dedicated to Mrs. Amelia Nahar._

"LAURIETT."

BALLAD.

_Composed by H.F. WILLIAMS. 1840._

1. Lauriett!

Ah! my dearest,

I will often think of thee,

When far, far away o'er the deep and gloomy sea;

Lauriett, thou'lt ne'er forget the happy morn when first we met,

When I saw and lov'd thee dearly;

My charming Lauriett,

When I saw and lov'd sincerely,

My charming Lauriett.

But thou, thou wilt ne'er forget me,

Ah no, thou wilt not forsake me,

For thee, my love, my life, my dearest,

I ne'er will forget.

2. Fare thee well:

Ah! my dearest,

Wilt thou often think of me,

When I'm far from my home, yes, my love, when far from thee;

Lauriett, Ah! canst thou tell the grief that in my heart doth dwell,

For my love, we soon must sever;

But say, love, ere we part,

Wilt thou be mine forever?

Are we but one in heart?

Once more my love wilt thou embrace me,

For hark! the signal calls to duty,

I must away my love, and leave thee,

Fare well, fare thee well.]

[Music: LES CLOCHETTES.

FANTAISIE MAZURKA.

_SYDNEY LAMBERT. Op. 9._

Alphonse Leduc. Paris.]

[Music: "RAYS OF HOPE."

MARCH.

_Composed by WALTER F. CRAIG. Op. 1._]

[Music: SCENES OF YOUTH.

FANTAISIA for PIANO

_By F.E. LEWIS, Op. 3._]

[Music: MASS

FOR THREE VOICES.

_By SAMUEL SNAER, New Orleans._

GLORIA.

Gloria, gloria in excelsis Deo,

gloria, gloria in excelsis Deo.

Et in terra pax hominibus,

Et in terra pax hominibus, bonæ voluntatis,

Laudamus te, laudamus te, benedicimus te,

Adoramus te, Adoramus te, glorificamus te.

Gratias agimus tibi, gratias agimus tibi

propter magnam gloriam tuam,

Domine Deus rex coelestis Deus pater omnipotens.

Domine fili unigenite,

Jesu Christe, Jesu, Jesu Christe Domine Deus,

Agnus Dei filius patris, Agnus Dei filius patris.

Qui tollis, qui tollis peccata mundi

miserere, miserere, miserere nobis.

Qui tollis, qui tollis peccata mundi,

miserere, miserere nobis.

Qui tollis, qui tollis peccata mundi,

suscipe, suscipe deprecationem nostram.

Quoniam tu solus, sanctus tu solus Dominus,

tu solus altissimus Jesu Christe.

Cum sancto spiritu, cum sancto spiritu in gloria Dei patris.

Amen, amen, amen, amen, amen, amen, amen,

amen, amen, amen, amen, amen,

Amen, amen, amen,

Amen.

AGNUS DEI.

Agnus Dei qui tollis peccata mundi,

qui tollis peccata mundi.

Miserere nobis, miserere nobis,

miserere, miserere nobis.

Agnus Dei qui tollis peccata mundi,

qui tollis, qui tollis peccata mundi.

Miserere, miserere, miserere nobis,

miserere, miserere, miserere nobis.

Agnus Dei.

Agnus Dei, qui tollis peccata mundi.

Dona nobis, dona nobis, dona nobis pacem,

dona nobis pacem, dona nobis pacem,

dona nobis pacem, dona nobis, dona nobis pacem,

dona nobis pacem, dona nobis pacem,

dona nobis pacem, dona nobis pacem.]

4. SYMPHONY.--For Two Violins and Piano, { L.M., J.M.,