XII
MUSIC
The foremost name on the roll of Negro composers is that of a man whosehome was in England, but who in so many ways identified himself with theNegroes of the United States that he deserves to be considered here. Hevisited America, found the inspiration for much of his best work inAfrican themes, and his name at once comes to mind in any considerationof the history of the Negro in music.
Samuel Coleridge-Taylor[9] (1875-1912) was born in London, the son of aphysician who was a native of Sierra Leone, and an English mother. Hebegan the study of the violin when he was no more than six years old,and as he grew older he emphasized more and more the violin and thepiano. At the age of ten he entered the choir of St. George's, atCroydon, and a little later became alto singer at St. Mary Magdalene's,Croydon. In 1890 he entered the Royal College of Music as a student ofthe violin; and he also became a student of Stanford's in composition,in which department he won a scholarship in 1893. In 1894 he wasgraduated with honor. His earliest published work was the anthem, "InThee, O Lord" (1892); but he gave frequent performances of chamber musicat student concerts in his earlier years; one of his symphonies wasproduced in 1896 under Stanford's direction, and "a quintet for clarinetand strings in F sharp minor (played at the Royal College in 1895) wasgiven in Berlin by the Joachim Quartet, and a string quartet in D minordates from 1896." Coleridge-Taylor became world-famous by the productionof the first part of his "Hiawatha" trilogy, "Hiawatha's Wedding-Feast,"at the Royal College, November 11, 1898. He at once took rank as one ofthe foremost living English composers. The second part of the trilogy,"The Death of Minnehaha," was given at the North Staffordshire Festivalin the autumn of 1899; and the third, "Hiawatha's Departure," by theRoyal Choral Society, in Albert Hall, March 22, 1900. The whole work wasa tremendous success such as even the composer himself never quiteduplicated. Requests for new compositions for festival purposes nowbecame numerous, and in response to the demand were produced "The BlindGirl of Castel-Cuille" (Leeds, 1901), "Meg Blane" (Sheffield, 1902),"The Atonement" (Hereford, 1903), and "Kubla Khan" (Handel Society,1906). Coleridge-Taylor also wrote the incidental music for the fourromantic plays by Stephen Phillips produced at His Majesty's Theatre, asfollows: "Herod," 1900; "Ulysses," 1901; "Nero," 1902; "Faust," 1908; aswell as incidental music for "Othello" (the composition for theorchestra being later adapted as a suite for pianoforte), and for "ATale of Old Japan," the words of which were by Alfred Noyes. In 1904 hewas appointed conductor of the Handel Society. The composer's mostdistinctive work is probably that reflecting his interest in the Negrofolk-song. "Characteristic of the melancholy beauty, barbaric color,charm of musical rhythm and vehement passion of the true Negro music arehis symphonic pianoforte selections based on Negro melodies from Africaand America: the 'African Suite,' a group of pianoforte pieces, the'African Romances' (words by Paul L. Dunbar), the 'Songs of Slavery,''Three Choral Ballads' and 'African Dances,' and a suite for violin andpianoforte."[10] The complete list of the works of Coleridge-Taylorwould include also the following: "Southern Love Songs," "Dream-Lovers"(an operetta), "Gipsy Suite" (for violin and piano), "Solemn Prelude"(for orchestra, first produced at the Worcester Festival, 1899),"Nourmahal's Song and Dance" (for piano), "Scenes from an EverydayRomance," "Ethiopia Saluting the Colors" (concert march for orchestra),"Five Choral Ballads" to words by Longfellow (produced at the NorwichFestival, 1905), "Moorish Dance" (for piano), "Six Sorrow Songs,"several vocal duets, and the anthems, "Now Late on the Sabbath Day," "Bythe Waters of Babylon," "The Lord is My Strength," "Lift Up Your Heads,""Break Forth into Joy," and "O Ye that Love the Lord." Among the thingspublished since his death are his "Viking Song," best adapted for a malechorus, and a group of pianoforte and choral works.
[Footnote 9: This account of Coleridge-Taylor is based largely, but notwholly, upon the facts as given in Grove's Dictionary of Music (1910edition, Macmillan). The article on the composer ends with a fairlycomplete list of works up to 1910.]
[Footnote 10: _Crisis_, October, 1912.]
In America the history of conscious musical effort on the part of theNegro goes back even many years before the Civil War. "Some of the mostinteresting music produced by the Negro slaves was handed down from thedays when the French and Spanish had possession of Louisiana. From thefree Negroes of Louisiana there sprang up, during slavery days, a numberof musicians and artists who distinguished themselves in foreigncountries to which they removed because of the prejudice which existedagainst colored people. Among them was Eugene Warburg, who went to Italyand distinguished himself as a sculptor. Another was Victor Sejour, whowent to Paris and gained distinction as a poet and composer of tragedy.The Lambert family, consisting of seven persons, were noted asmusicians. Richard Lambert, the father, was a teacher of music; LucienLambert, a son, after much hard study, became a composer of music.Edmund Dede, who was born in New Orleans in 1829, learned while a youthto play a number of instruments. He accumulated enough money to pay hispassage to France. Here he took up a special study of music, and finallybecame director of the orchestra of L'Alcazar, in Bordeaux, France."[11]
[Footnote 11: Washington: "The Story of the Negro," II, 276-7.]
The foremost composer of the race to-day is Harry T. Burleigh, whowithin the last few years has won a place not only among the mostprominent song-writers of America, but of the world. He has emphasizedcompositions in classical vein, his work displaying great technicalexcellence. Prominent among his later songs are "Jean," the "SaracenSongs," "One Year (1914-1915)," the "Five Songs" of Laurence Hope, setto music, "The Young Warrior" (the words of which were written by JamesW. Johnson), and "Passionale" (four songs for a tenor voice, the wordsof which were also by Mr. Johnson). Nearly two years ago, at anassemblage of the Italo-American Relief Committee at the Biltmore Hotel,New York, Mr. Amato, of the Metropolitan Opera, sang with tremendouseffect, "The Young Warrior," and the Italian version has later beenused all over Italy as a popular song in connection with the war. Ofsomewhat stronger quality even than most of these songs are "The GreyWolf," to words by Arthur Symons, "The Soldier," a setting of RupertBrooke's well known sonnet, and "Ethiopia Saluting the Colors." Anentirely different division of Mr. Burleigh's work, hardly lessimportant than his songs, is his various adaptations of the Negromelodies, especially for choral work; and he assisted Dvorak in his "NewWorld Symphony," based on the Negro folk-songs. For his generalachievement in music he was, in 1917, awarded the Spingarn Medal. Hiswork as a singer is reserved for later treatment.
HARRY T. BURLEIGH]
Another prominent composer is Will Marion Cook. Mr. Cook's time has beenlargely given to the composition of popular music; at the same time,however, he has produced numerous songs that bear the stamp of genius.In 1912 a group of his tuneful and characteristic pieces was publishedby Schirmer. Generally his work exhibits not only unusual melody, butalso excellent technique. J. Rosamond Johnson is also a composer withmany original ideas. Like Mr. Cook, for years he gave much attention topopular music. More recently he has been director of the New York MusicSettlement, the first in the country for the general cultivation andpopularizing of Negro music. Among his later songs are: "I Told My Loveto the Roses," and "Morning, Noon, and Night." In pure melody Mr.Johnson is not surpassed by any other musician of the race to-day. Hislong experience with large orchestras, moreover, has given him unusualknowledge of instrumentation. Carl Diton, organist and pianist, has sofar been interested chiefly in the transcription for the organ ofrepresentative Negro melodies. "Swing Low, Sweet Chariot" was publishedby Schirmer and followed by "Four Jubilee Songs." R. Nathaniel Dett hasthe merit, more than others, of attempting to write in large form. Hiscarol, "Listen to the Lambs," is especially noteworthy. Representativeof his work for the piano is his "Magnolia Suite." This was published bythe Clayton F. Summy Co., of Chicago. As for the very young men ofpromise, special interest attaches to the work of Edmund T. Jenkins, ofCharleston, S. C., who three years ago made his way to the RoyalAcademy in London. Able before he left to perform bri
lliantly on half adozen instruments, this young man was soon awarded a scholarship; in1916-17 he was awarded a silver medal for excellence on the clarinet, abronze medal for his work on the piano, and, against brilliantcompetition, a second prize for his original work in composition. Theyear also witnessed the production of his "Prelude Religieuse" at one ofthe grand orchestral concerts of the Academy.
Outstanding pianists are Raymond Augustus Lawson, of Hartford, Conn.,and Hazel Harrison, now of New York. Mr. Lawson is a true artist. Histechnique is very highly developed, and his style causes him to be afavorite concert pianist. He has more than once been a soloist at theconcerts of the Hartford Philharmonic Orchestra, and has appeared onother noteworthy occasions. He conducts at Hartford one of the leadingstudios in New England. Miss Harrison has returned to America afteryears of study abroad, and now conducts a studio in New York. She was aspecial pupil of Busoni and has appeared in many noteworthy recitals.Another prominent pianist is Roy W. Tibbs, now a teacher at HowardUniversity. Helen Hagan, who a few years ago was awarded the Sanfordscholarship at Yale for study abroad, has since her return from Francegiven many excellent recitals; and Ethel Richardson, of New York, hashad several very distinguished teachers and is in general one of themost promising of the younger performers. While those that have beenmentioned could not possibly be overlooked, there are to-day so manynoteworthy pianists that even a most competent and well-informedmusician would hesitate before passing judgment upon them. Prominentamong the organists is Melville Charlton, of Brooklyn, an associate ofthe American Guild of Organists, who has now won for himself a placeamong the foremost organists of the United States, and who has also donegood work as a composer. He is still a young man and from him may notunreasonably be expected many years of high artistic endeavor. Two othervery prominent organists are William Herbert Bush, of New London, Conn.,and Frederick P. White, of Boston. Mr. Bush has for thirty years filledhis position at the Second Congregational Church, of New London, andhas also given much time to composition. Mr. White, also a composer, fortwenty-five years had charge of the instrument in the First MethodistEpiscopal Church, of Charlestown, Mass. Excellent violinists arenumerous, but in connection with this instrument especially must it beremarked that more and more must the line of distinction be drawnbetween the work of a pleasing and talented performer and the effort ofa conscientious and painstaking artist. Foremost is Clarence CameronWhite, of Boston. Prominent also for some years has been JosephDouglass, of Washington. Felix Weir, of Washington and New York, hasgiven unusual promise; and Kemper Harreld, of Chicago and Atlanta, alsodeserves mention. In this general sketch of those who have added to themusical achievement of the race there is a name that must not beoverlooked. "Blind Tom," who attracted so much attention a generationago, deserves notice as a prodigy rather than as a musician of solidaccomplishment. His real name was Thomas Bethune, and he was born inColumbus, Ga., in 1849. He was peculiarly susceptible to the influencesof nature, and imitated on the piano all the sounds he knew. Withoutbeing able to read a note he could play from memory the most difficultcompositions of Beethoven and Mendelssohn. In phonetics he wasespecially skillful. Before his audiences he would commonly invite anyof his hearers to play new and difficult selections, and as soon as arendering was finished he would himself play the composition withoutmaking a single mistake.
Of those who have exhibited the capabilities of the Negro voice in songit is but natural that sopranos should have been most distinguished.Even before the Civil War the race produced one of the first rank inElizabeth Taylor Greenfield, who came into prominence in 1851. Thisartist, born in Mississippi, was taken to Philadelphia and there caredfor by a Quaker lady. Said the _Daily State Register_, of Albany, afterone of her concerts: "The compass of her marvelous voice embracestwenty-seven notes, reaching from the sonorous bass of a baritone to afew notes above even Jenny Lind's highest." A voice with a range of morethan three octaves naturally attracted much attention in both Englandand America, and comparisons with Jenny Lind, then at the height of hergreat fame, were frequent. After her success on the stage MissGreenfield became a teacher of music in Philadelphia. Twenty-five yearslater the Hyers Sisters, Anna and Emma, of San Francisco, started ontheir memorable tour of the continent, winning some of their greatesttriumphs in critical New England. Anna Hyers especially was remarked asa phenomenon. Then arose Madame Selika, a cultured singer of the firstrank, and one who, by her arias and operatic work generally, as well asby her mastery of language, won great success on the continent of Europeas well as in England and America. The careers of two later singers areso recent as to be still fresh in the public memory; one indeed maystill be heard on the stage. It was in 1887 that Flora Batson entered onthe period of her greatest success. She was a ballad singer and her workat its best was of the sort that sends an audience into the wildestenthusiasm. Her voice exhibited a compass of three octaves, from thepurest, most clear-cut soprano, sweet and full, to the rich round notesof the baritone register. Three or four years later than Flora Batsonin her period of greatest artistic success was Mrs. Sissieretta Jones.The voice of this singer, when it first attracted wide attention, about1893, commanded notice as one of unusual richness and volume, and as oneexhibiting especially the plaintive quality ever present in the typicalNegro voice.
At the present time Harry T. Burleigh instantly commands attention. Fortwenty years this singer has been the baritone soloist at St. George'sEpiscopal Church, New York, and for about half as long at TempleEmanu-El, the Fifth Avenue Jewish synagogue. As a concert and oratoriosinger Mr. Burleigh has met with signal success. Of the younger men,Roland W. Hayes, a tenor, is outstanding. He has the temperament of anartist and gives promise of being able to justify expectations awakenedby a voice of remarkable quality. Within recent years Mme. Anita PattiBrown, a product of the Chicago conservatories, has also been prominentas a concert soloist. She sings with simplicity and ease, and in hervoice is a sympathetic quality that makes a ready appeal to the heart ofan audience. Just at present Mme. Mayme Calloway Byron, most recentlyof Chicago, seems destined within the near future to take the very highplace that she deserves. This great singer has but lately returned toAmerica after years of study and cultivation in Europe. She has sung inthe principal theaters abroad and was just on the eve of filling anengagement at the Opera Comique when the war began and forced her tochange her plans.
In this general review of those who have helped to make the Negro voicefamous, mention must be made of a remarkable company of singers whofirst made the folk-songs of the race known to the world at large. In1871 the Fisk Jubilee Singers began their memorable progress throughAmerica and Europe, meeting at first with scorn and sneers, but beforelong touching the heart of the world with their strange music. Theoriginal band consisted of four young men and five young women; in theseven years of the existence of the company altogether twenty-fourpersons were enrolled in it. Altogether, these singers raised for FiskUniversity one hundred and fifty thousand dollars, and secured schoolbooks, paintings, and apparatus to the value of seven or eight thousandmore. They sang in the United States, England, Scotland, Ireland,Holland, Switzerland, and Germany, sometimes before royalty. Since theirtime they have been much imitated, but hardly ever equaled, and neversurpassed.
This review could hardly close without mention of at least a few otherpersons who have worked along distinctive lines and thus contributed tothe general advance. Pedro T. Tinsley is director of the Choral StudyClub of Chicago, which has done much work of real merit. Lulu VereChilders, director of music at Howard University, is a contralto and anexcellent choral director; while John W. Work, of Fisk University, byediting and directing, has done much for the preservation of the oldmelodies. Mrs. E. Azalia Hackley, for some years prominent as a concertsoprano, has recently given her time most largely to the work ofteaching and showing the capabilities of the Negro voice. Possessed of asplendid musical temperament, she has enjoyed the benefit of three yearsof foreign study, has published "A Guide to Voice Culture," andgenerally inspir
ed many younger singers or performers. Mrs. Maud CuneyHare, of Boston, a concert pianist, has within the last few yearselicited much favorable comment from cultured persons by herlecture-recitals dealing with Afro-American music. In these she has beenassisted by William H. Richardson, baritone soloist of St. Peter'sEpiscopal Church, Cambridge. Scattered throughout the country are manyother capable teachers or promising young artists.
The Negro in Literature and Art in the United States Page 13