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Negro in Literature and Art in the United States

<h2>XII</h2> <h3>MUSIC</h3> THE foremost name on the roll of Negro composers is that of a man whose home was in England, but who in so many ways identified himself with the Negroes of the United States that he deserves to be considered here. He visited America, found the inspiration for much of his best work in African themes, and his name at once comes to mind in any consideration of the history of the Negro in music. Samuel Coleridge-Taylor[9] (1875-1912) was born in London, the son of a physician who was a native of Sierra Leone, and an English mother. He began the study of the violin when he was no more than six years old, and as he grew older he emphasized more and more[126] the violin and the piano. At the age of ten he entered the choir of St. George's, at Croydon, 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 of the violin; and he also became a student of Stanford's in composition, in which department he won a scholarship in 1893. In 1894 he was graduated with honor. His earliest published work was the anthem, "In Thee, O Lord" (1892); but he gave frequent performances of chamber music at student concerts in his earlier years; one of his symphonies was produced in 1896 under Stanford's direction, and "a quintet for clarinet and strings in F sharp minor (played at the Royal College in 1895) was given in Berlin by the Joachim Quartet, and a string quartet in D minor dates from 1896." Coleridge-Taylor became world-famous by the production of 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 of the foremost living English composers. The second part of the trilogy, "The Death of Minnehaha," was given at the North Staffordshire[127] Festival in the autumn of 1899; and the third, "Hiawatha's Departure," by the Royal Choral Society, in Albert Hall, March 22, 1900. The whole work was a tremendous success such as even the composer himself never quite duplicated. Requests for new compositions for festival purposes now became numerous, and in response to the demand were produced "The Blind Girl of Castel-Cuillé" (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 four romantic plays by Stephen Phillips produced at His Majesty's Theatre, as follows: "Herod," 1900; "Ulysses," 1901; "Nero," 1902; "Faust," 1908; as well as incidental music for "Othello" (the composition for the orchestra being later adapted as a suite for pianoforte), and for "A Tale of Old Japan," the words of which were by Alfred Noyes. In 1904 he was appointed conductor of the Handel Society. The composer's most distinctive work is probably that reflecting his interest in the Negro folk-song. "Characteristic of the melancholy beauty, barbaric color,[128] charm of musical rhythm and vehement passion of the true Negro music are his symphonic pianoforte selections based on Negro melodies from Africa and 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 and pianoforte."[10] The complete list of the works of Coleridge-Taylor would 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 Everyday Romance," "Ethiopia Saluting the Colors" (concert march for orchestra), "Five Choral Ballads" to words by Longfellow (produced at the Norwich Festival, 1905), "Moorish Dance" (for piano), "Six Sorrow Songs," several vocal duets, and the anthems, "Now Late on the Sabbath Day," "By the Waters of Babylon," "The Lord is My Strength," "Lift Up Your Heads," "Break Forth into Joy," and "O[129] Ye that Love the Lord." Among the things published since his death are his "Viking Song," best adapted for a male chorus, and a group of pianoforte and choral works. <div class="footnote">[9] This account of Coleridge-Taylor is based largely, but not wholly, upon the facts as given in Grove's Dictionary of Music (1910 edition, Macmillan). The article on the composer ends with a fairly complete list of works up to 1910. </div> <div class="footnote">[10] Crisis, October, 1912. </div> In America the history of conscious musical effort on the part of the Negro goes back even many years before the Civil War. "Some of the most interesting music produced by the Negro slaves was handed down from the days when the French and Spanish had possession of Louisiana. From the free Negroes of Louisiana there sprang up, during slavery days, a number of musicians and artists who distinguished themselves in foreign countries to which they removed because of the prejudice which existed against colored people. Among them was Eugène Warburg, who went to Italy and distinguished himself as a sculptor. Another was Victor Séjour, who went to Paris and gained distinction as a poet and composer of tragedy. The Lambert family, consisting of seven persons, were noted as musicians. Richard Lambert, the father, was a teacher of music; Lucien Lambert, a son, after much hard study, became a composer of music. Edmund Dédé, who was born in New Orleans[130] in 1829, learned while a youth to play a number of instruments. He accumulated enough money to pay his passage to France. Here he took up a special study of music, and finally became director of the orchestra of L'Alcazar, in Bordeaux, France."[11] <div class="footnote">[11] Washington: "The Story of the Negro," II, 276-7. </div> The foremost composer of the race to-day is Harry T. Burleigh, who within the last few years has won a place not only among the most prominent song-writers of America, but of the world. He has emphasized compositions in classical vein, his work displaying great technical excellence. Prominent among his later songs are "Jean," the "Saracen Songs," "One Year (1914-1915)," the "Five Songs" of Laurence Hope, set to music, "The Young Warrior" (the words of which were written by James W. Johnson), and "Passionale" (four songs for a tenor voice, the words of which were also by Mr. Johnson). Nearly two years ago, at an assemblage of the Italo-American Relief Committee at the Biltmore Hotel, New York, Mr. Amato, of the Metropolitan Opera, sang with tremendous effect, "The Young Warrior," and the Italian version has later [131]been used all over Italy as a popular song in connection with the war. Of somewhat stronger quality even than most of these songs are "The Grey Wolf," to words by Arthur Symons, "The Soldier," a setting of Rupert Brooke's well known sonnet, and "Ethiopia Saluting the Colors." An entirely different division of Mr. Burleigh's work, hardly less important than his songs, is his various adaptations of the Negro melodies, especially for choral work; and he assisted Dvorak in his "New World Symphony," based on the Negro folk-songs. For his general achievement in music he was, in 1917, awarded the Spingarn Medal. His work as a singer is reserved for later treatment. <div class="figcenter"> <ANTIMG src="images/009.jpg" width-obs="335" height-obs="500" alt="HARRY T. BURLEIGH" title="HARRY T. BURLEIGH" /> HARRY T. BURLEIGH </div> Another prominent composer is Will Marion Cook. Mr. Cook's time has been largely 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 published by Schirmer. Generally his work exhibits not only unusual melody, but also excellent technique. J. Rosamond Johnson is also a composer with many original ideas. Like Mr. Cook, for years he gave much[132] attention to popular music. More recently he has been director of the New York Music Settlement, the first in the country for the general cultivation and popularizing of Negro music. Among his later songs are: "I Told My Love to the Roses," and "Morning, Noon, and Night." In pure melody Mr. Johnson is not surpassed by any other musician of the race to-day. His long experience with large orchestras, moreover, has given him unusual knowledge of instrumentation. Carl Diton, organist and pianist, has so far been interested chiefly in the transcription for the organ of representative Negro melodies. "Swing Low, Sweet Chariot" was published by Schirmer and followed by "Four Jubilee Songs." R. Nathaniel Dett has the merit, more than others, of attempting to write in large form. His carol, "Listen to the Lambs," is especially noteworthy. Representative of his work for the piano is his "Magnolia Suite." This was published by the Clayton F. Summy Co., of Chicago. As for the very young men of promise, special interest attaches to the work of Edmund T. Jenkins, of Charleston, S. C., who three years ago made his way to the Royal Academy[133] in London. Able before he left to perform brilliantly on half a dozen instruments, this young man was soon awarded a scholarship; in 1916-17 he was awarded a silver medal for excellence on the clarinet, a bronze medal for his work on the piano, and, against brilliant competition, a second prize for his original work in composition. The year also witnessed the production of his "Prélude Réligieuse" at one of the 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. His technique is very highly developed, and his style causes him to be a favorite concert pianist. He has more than once been a soloist at the concerts of the Hartford Philharmonic Orchestra, and has appeared on other noteworthy occasions. He conducts at Hartford one of the leading studios in New England. Miss Harrison has returned to America after years of study abroad, and now conducts a studio in New York. She was a special pupil of Busoni and has appeared in many noteworthy recitals. Another prominent[134] pianist is Roy W. Tibbs, now a teacher at Howard University. Helen Hagan, who a few years ago was awarded the Sanford scholarship at Yale for study abroad, has since her return from France given many excellent recitals; and Ethel Richardson, of New York, has had several very distinguished teachers and is in general one of the most promising of the younger performers. While those that have been mentioned could not possibly be overlooked, there are to-day so many noteworthy pianists that even a most competent and well-informed musician would hesitate before passing judgment upon them. Prominent among the organists is Melville Charlton, of Brooklyn, an associate of the American Guild of Organists, who has now won for himself a place among the foremost organists of the United States, and who has also done good work as a composer. He is still a young man and from him may not unreasonably be expected many years of high artistic endeavor. Two other very prominent organists are William Herbert Bush, of New London, Conn., and Frederick P. White, of Boston. Mr. Bush has for thirty years filled his position at the Second Congre[135]gational Church, of New London, and has also given much time to composition. Mr. White, also a composer, for twenty-five years had charge of the instrument in the First Methodist Episcopal Church, of Charlestown, Mass. Excellent violinists are numerous, but in connection with this instrument especially must it be remarked that more and more must the line of distinction be drawn between the work of a pleasing and talented performer and the effort of a conscientious and painstaking artist. Foremost is Clarence Cameron White, of Boston. Prominent also for some years has been Joseph Douglass, of Washington. Felix Weir, of Washington and New York, has given unusual promise; and Kemper Harreld, of Chicago and Atlanta, also deserves mention. In this general sketch of those who have added to the musical achievement of the race there is a name that must not be overlooked. "Blind Tom," who attracted so much attention a generation ago, deserves notice as a prodigy rather than as a musician of solid accomplishment. His real name was Thomas Bethune, and he was born in Columbus, Ga., in 1849. He was peculiarly susceptible to the influences[136] of nature, and imitated on the piano all the sounds he knew. Without being able to read a note he could play from memory the most difficult compositions of Beethoven and Mendelssohn. In phonetics he was especially skillful. Before his audiences he would commonly invite any of his hearers to play new and difficult selections, and as soon as a rendering was finished he would himself play the composition without making a single mistake. Of those who have exhibited the capabilities of the Negro voice in song it is but natural that sopranos should have been most distinguished. Even before the Civil War the race produced one of the first rank in Elizabeth Taylor Greenfield, who came into prominence in 1851. This artist, born in Mississippi, was taken to Philadelphia and there cared for by a Quaker lady. Said the Daily State Register, of Albany, after one of her concerts: "The compass of her marvelous voice embraces twenty-seven notes, reaching from the sonorous bass of a baritone to a few notes above even Jenny Lind's highest." A voice with a range of more than three octaves naturally attracted much attention in both England and America,[137] and comparisons with Jenny Lind, then at the height of her great fame, were frequent. After her success on the stage Miss Greenfield became a teacher of music in Philadelphia. Twenty-five years later the Hyers Sisters, Anna and Emma, of San Francisco, started on their memorable tour of the continent, winning some of their greatest triumphs in critical New England. Anna Hyers especially was remarked as a phenomenon. Then arose Madame Selika, a cultured singer of the first rank, and one who, by her arias and operatic work generally, as well as by her mastery of language, won great success on the continent of Europe as well as in England and America. The careers of two later singers are so recent as to be still fresh in the public memory; one indeed may still be heard on the stage. It was in 1887 that Flora Batson entered on the period of her greatest success. She was a ballad singer and her work at its best was of the sort that sends an audience into the wildest enthusiasm. Her voice exhibited a compass of three octaves, from the purest, most clear-cut soprano, sweet and full, to the rich round notes of the baritone register. Three or four years later than Flora[138] Batson in her period of greatest artistic success was Mrs. Sissieretta Jones. The voice of this singer, when it first attracted wide attention, about 1893, commanded notice as one of unusual richness and volume, and as one exhibiting especially the plaintive quality ever present in the typical Negro voice. At the present time Harry T. Burleigh instantly commands attention. For twenty years this singer has been the baritone soloist at St. George's Episcopal Church, New York, and for about half as long at Temple Emanu-El, the Fifth Avenue Jewish synagogue. As a concert and oratorio singer Mr. Burleigh has met with signal success. Of the younger men, Roland W. Hayes, a tenor, is outstanding. He has the temperament of an artist and gives promise of being able to justify expectations awakened by a voice of remarkable quality. Within recent years Mme. Anita Patti Brown, a product of the Chicago conservatories, has also been prominent as a concert soloist. She sings with simplicity and ease, and in her voice is a sympathetic quality that makes a ready appeal to the heart of an audience. Just at present Mme. Mayme Calloway Byron,[139] most recently of Chicago, seems destined within the near future to take the very high place that she deserves. This great singer has but lately returned to America after years of study and cultivation in Europe. She has sung in the principal theaters abroad and was just on the eve of filling an engagement at the Opéra Comique when the war began and forced her to change her plans. In this general review of those who have helped to make the Negro voice famous, mention must be made of a remarkable company of singers who first made the folk-songs of the race known to the world at large. In 1871 the Fisk Jubilee Singers began their memorable progress through America and Europe, meeting at first with scorn and sneers, but before long touching the heart of the world with their strange music. The original band consisted of four young men and five young women; in the seven years of the existence of the company altogether twenty-four persons were enrolled in it. Altogether, these singers raised for Fisk University one hundred and fifty thousand dollars, and secured school books, paintings, and apparatus to the value[140] of seven or eight thousand more. They sang in the United States, England, Scotland, Ireland, Holland, Switzerland, and Germany, sometimes before royalty. Since their time they have been much imitated, but hardly ever equaled, and never surpassed. This review could hardly close without mention of at least a few other persons who have worked along distinctive lines and thus contributed to the general advance. Pedro T. Tinsley is director of the Choral Study Club of Chicago, which has done much work of real merit. Lulu Vere Childers, director of music at Howard University, is a contralto and an excellent choral director; while John W. Work, of Fisk University, by editing and directing, has done much for the preservation of the old melodies. Mrs. E. Azalia Hackley, for some years prominent as a concert soprano, has recently given her time most largely to the work of teaching and showing the capabilities of the Negro voice. Possessed of a splendid musical temperament, she has enjoyed the benefit of three years of foreign study, has published "A Guide to Voice Culture," and generally inspired many younger[141] singers or performers. Mrs. Maud Cuney Hare, of Boston, a concert pianist, has within the last few years elicited much favorable comment from cultured persons by her lecture-recitals dealing with Afro-American music. In these she has been assisted by William H. Richardson, baritone soloist of St. Peter's Episcopal Church, Cambridge. Scattered throughout the country are many other capable teachers or promising young artists. <hr style="width: 65%;" /> [142] <div style="break-after:column;"></div>

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