Chapter 24

"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.

The _Rev. Thomas H. Jackson_, pastor of Allen Temple, himself an 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 _role_, 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_ (_nee_ 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.