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 associates 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 associations of which I have just been speaking,—associations 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 principal towns and cities of the South. The list could be largely extended did time and space 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 basso, 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 association 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 Cox 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 noble 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 circumstances connected with the same. I refer to the city of New Orleans, which will be treated in the next chapter.



III.

NEW ORLEANS.

THE MUSICAL AND GENERAL CULTURE OF ITS COLORED CITIZENS.

"Though last, not least."

SHAKSPEARE.

Before the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris—which has ever been to its enamoured citizens not only all France, but all the world—became for France the centre.

Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtly menestrels, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas,—first to Canada, and then to Louisiana,—the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French "Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, together with certain forms of divine worship observed by a large number of them,—all this served for a long time to remind one of the magnificent capital of France.

The opera, with its ravishing music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors,—all so well calculated to charm a people of luxurious tastes,—has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there: such persons, pursuing their studies, not with a pecuniary view (being in easy circumstances), but simply from a love of music, have ever found congenial association in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate circumstances to seek support in discoursing it to others,—these have always found ready and substantial recognition in this music-loving city.

But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others? Strange to say, it does. Natural lovers of the "art divine," and naturally capable of musical expression,—they too, although with far less of advantages for culture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago "The New-Orleans Picayune" testified to their superior taste for and appreciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties of abject servitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, were allowed to acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions; many of their sons and daughters attaining to a surpassing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman.

Again: there was another portion of this same race, who, in the 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 Eugene Warburg, since distinguished in Italy as a sculptor; Victor Sejour, 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 Depart du Conscrit" (fantasie march); "Les Ombres Aimees;" "La Bresiliana;" "Paris Vienne;" "Le Niagara;" "Au Clair de la Lune," with variations; "Ah! vous disais-je, Maman;" "L'Americaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches et Clochettes;" "Etude 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'etais Roi;" "Murmures du Soir;" "L'Africaine;" "Anna Bolena;" "La Sonnambula;" "L'Elisire;" "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 Dede 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. Dede 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 Varie 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. Dede 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 Dede 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 Bares [Transcriber's Note: corrected from Bares] 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 Eugene Prevost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Bares 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. Bares resides in New Orleans. I append this partial list of his works: "La Capricieuse Valse," "Delphine Valse Brillante," "Les Varietes du Carnaval," "Les Violettes Valse," "La Creole" (march), "Elodia" (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 Fenetre." 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 Fenetre," published by Louis Grunewald, New Orleans.

"Le Chant du Depart," published by Louis Grunewald, New Orleans. (Two editions issued.)

"Rappelle-toi," published by Louis Grunewald, New Orleans. (Two editions issued.)

"Grand Scene Lyrique" (solo and duetto).

"Graziella" (overture for full orchestra).

"Le Vampire" (vocal and instrumental).

"Le Bohemien" (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 litterateur; 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 Soule 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 role 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. Felix 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. Eugene Prevost. 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 Dupre 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.

Eugene 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. Emile 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:—

Mr. O.P.

4. SYMPHONY.—For Two Violins and Piano, { L.M., J.M., { and Miss A.F.

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

Intermission.—Part Second.

6. OVERTURE.—"Semiramis" 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 DROLE DE SOIREE.—Scene 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 Bohemien" 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. Eugene 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 Dede) 53

LA CAPRICIEUSE WALTZ (Basil Bares) 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, 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, 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, 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.

Copyright, 1877 by John F. Perry, & Co. Used by per.]



[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.

Copyright, 1867 by Oliver Ditson, & Co. Used by permission.]



[Music: LE SERMENT DE L'ARABE.

CHANT DRAMATIQUE.

Paroles de A. DEMARTON.

Musique d'Em. DEDE.

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

Un jour il m'en souvient, mon pere sous sa tente Me fit sur l'Alcoran jurer mort aux Lions Puis ayant sur mon front pose sa main sanglante, Son ame s'envola vers d'autres regions 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 brulant! Est-il parles houris, de notre saint Prophete, Par Allah tout puissant maitre de l'univers; Est-il plus nobles jeux, est-il plus belle fete, Qu'une chasse aux Lions, dans nos vastes deserts?]



[Music: LA CAPRICIEUSE.

VALSE.

BASILE BARES. Op. 7.

Copyright, 1869, by A.E. Blackmar. Used by permission.]



[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.

Copyright by O. Ditson & Co. Used by permission.

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, bonae 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 pacem, dona nobis pacem, dona nobis, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem.]

THE END