Music and Some Highly Musical People Part 35

_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 ba.s.so 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 ent.i.tled 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 ravis.h.i.+ng sweetness, and ever replete with the expression of deepest pathos--may be plainly read the story of a race once generally languis.h.i.+ng 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 circ.u.mstances, would have shown a power to resist the mind-destroying influences of those circ.u.mstances 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 a.s.sociates 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 a.s.sociations of which I have just been speaking,--a.s.sociations 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 aesthetic 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 princ.i.p.al towns and cities of the South. The list could be largely extended did time and s.p.a.ce 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 ba.s.so, 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 a.s.sociation 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 c.o.x_ 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 n.o.ble 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 circ.u.mstances connected with the same. I refer to the city of New Orleans, which will be treated in the next chapter.