Part 35 (1/2)
_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.