Chapter I

"They are the abstracts and brief chronicles of the time."

SHAKSPEARE.

On the following pages I shall make mention in collective form, and somewhat briefly, of a number of artists whose histories, although not less important than those by which they are preceded, could not, owing to various causes, be placed in the first part of this book.

The true value of musical proficiency does not consist alone in the power it gives one to win the applause of great audiences, and thereby to attain to celebrity: it consists also in its being a source of refinement and pleasure to the possessor himself, and by which he may add to the tranquillity, the joys, of his own and the home life of his neighbors and friends. And here will be found, therefore, a brief mention of those, who, although they are not public performers, are yet sincere devotees of the art of music, who possess decided talent, and who in their attainments present instances of a character so noticeable as to render the same well worthy of record.

It is considered proper to say, also,--a caution which perhaps may not be necessary,--that I shall here make mention by name of none but persons of scientific musical culture; of none but those who read the printed music page, and can give its contents life and expression, generally, too, with a fine degree of excellence, either with voice or instrument; and who evince by their studies and performances the true artistic spirit. The singer or player "by ear" merely, however well favored by nature, will not be mentioned. This course will be followed, not because persons of the latter class are regarded contemptuously,--not by any means; but because it is intended that the list here given shall be, as far as it goes, a true record of what pertains to the higher reach and progress of a race, which, always considered as _naturally_ musical, has yet, owing to the blighting influences of the foul system of slavery, been hitherto prevented from obtaining, as generally as might be, a _scientific_ knowledge of music.

Nor must the list of names furnished be understood as an exhaustive one. Had the author the time in which to collect more names, or had he here the space for printing the same, he assures the reader of this only partial chronicle that one could be furnished which would be many times larger. And moreover, if any meritorious musician shall complain because his name does not here appear, I ask him to pardon the omission, made not from choice, nor with the purpose of giving personal offence.

If the first edition of this book shall be received with such favor as to warrant the issuing of a second one, I shall, if it be found necessary, take the time and pains to supply in it such omissions as appear to be made in this one. If it be found necessary, I say; for I am inclined to opine that ere long,--judging from a "view of the field" that I have lately taken, and after witnessing there the many delightful evidences of musical love and culture,--that ere long neither such lists as this, nor just such books as this, will be considered as necessary.

Nevertheless, the writer requests all who are interested in the more general cultivation of music by the people to send him such names as have been here left out, together with all facts that may additionally illustrate the subject treated in these pages; all names and statements to be accompanied by as strong confirmation as can possibly be procured. These will be published in case other editions of the book are issued.

It is hoped that the persons here mentioned, on seeing that their present achievements in art are regarded as of so much value in indicating the æsthetic taste and musical capacity of their race, may be impelled thereby to put forth even greater efforts, and to thus attain to that still higher state of usefulness and distinction, which, it is believed, their talents and present accomplishments show is quite possible.

In the city of Boston, which is the acknowledged great art centre of this country, the amplest facilities for the study of music are afforded. There the doors of conservatories and other music schools, among the finest of any in the world, are thrown open to _all_; the cost of admission being, considering the many advantages afforded, quite moderate. A love of the "divine art" pervades all classes in Boston; and there the earnest student and the skilful in music, of whatever race he may be, receives ready recognition and full encouragement. It is, in fact, almost impossible for one to live in that city of melody, and not become either a practical musician, or at least a lover of music.

It need not, then, be a matter of surprise that so many of the most finely-educated artists mentioned in this book are found to have been residents of the city mentioned. Affected by its all-pervading, its infectious, so to say, musical spirit, they eagerly embraced the many opportunities offered for culture; and their noble achievements are only such as would have been made by others of the same race residing in other sections of the country, had the latter enjoyed there (as, alas! mostly on account of the depressing, the vile spirit of caste that prevailed, they did not) the same advantages as the former.

* * * * *

Commencing with Boston, then, I first mention _Miss Rachel M. Washington_, a lady of fine artistic qualities, thoroughly educated in music, performing in finished, classical style on the piano-forte and organ, and who is a most accomplished teacher of those instruments and of harmony. In the last-mentioned department of music she a few years ago graduated, receiving the valuable diploma of the New-England Conservatory at Boston. Many of the most pleasing amateurs of Boston and vicinity received their first instructions in music from Miss Washington. Hers is a musical family, as her two sisters and brother are each possessed of nice musical taste and education. The subject of this notice early awakened their interest, and directed their studies. It is gratefully acknowledged, too, that to Miss Washington's earnest efforts, more than to those of any other person in Boston, is due that love for and proficiency in musical art so noticeable in certain circles of that city. From what I have learned of this artist's history from my own observation and otherwise, I am convinced that its full recital here would add much to the interest and value of this book. But I am prevented from doing this by her own earnest request, conveyed in language which, although, as I think, a trifle too gloomy, yet shows that she is animated by the most elevated ideas concerning the beautiful art of which she is so noble an exponent. I cannot forbear quoting a part of her excellent letter, in which she says,--

"Now a word about my own musical life.... Perhaps I have had
much success, and, like many others, many failures. My life
has been one of persevering struggle to attain to a high
degree of musical knowledge, and, through this, to assist in
the elevation of my race. If I have been successful in any
degree in helping to lay the foundation of future or present
success, in awakening a love for the beautiful in musical
art, or in kindling an ardent desire and aspiration for that
which elevates and ennobles, removes the harshness of and
dignifies our natures, then I am glad that I have not sown
in vain, though another shall reap the harvest.

"A part of the reward for all these years of arduous toil
has been the recognition of talent by those of the more
favored race, as well as the appreciation and kindness shown
me by those with whom I am identified....

"As I read the lives of the great composers, and think of
their sacred devotion to the art dearer to them than their
own lives, I feel anxious for the time to come in our
history when a child like Mozart shall be born with soul
full of bright melodies; or a Beethoven, with his depth and
tenderness of feeling; or a Handel, lifting us above this
earth until we shall hear the multitude of voices joining in
one vast song,--'Alleluia! for the Lord God omnipotent
reigneth.' _Nor is this impossible._ Our history, it seems
to me, has but just begun. All the past is but sorrow and
gloom, with here and there a bright ray to bid us hope.... I
hope they [the colored youth of the country] will early
develop a love and taste for the beautiful in musical art;
that soon we shall be proud to mention those whose names
through their works shall be immortal."

Miss Washington has long been the organist of the Twelfth Baptist Church, Boston, as well as the directress of its choir. She is a lady of fine general culture and Christian character, and has many times been the recipient of public testimonials, and of complimentary notices from the New-England press.

_Mrs. Dr. C.N. Miller_ (_née_ Ariana Cooley) was for a long time the leading soprano-singer of Rev. L.A. Grimes's church. She has been long and favorably known in Boston musical circles as a very pleasing vocalist, possessing a pure, rich voice of great range, and highly cultivated. She renders with fine expression the best music. Her _repertoire_ of songs is quite extensive, and she has often been complimented by the press. "The Boston Globe" of March 31, 1876, alluding to her singing at a public concert, said, "She is the possessor of a well-cultivated voice of natural sweetness." Mrs. Miller was until recently a valued member of the Tremont-Temple choir, so noticeable for excellent singing. She is now a member of the Berkeley-street Church quartet.

_Mrs. P.A. Glover_ and _Mrs. Hester Jeffreys_, who will be better known by their maiden names,--Phebe A. and Hester Whitehouse,--possess voices of rare natural beauty considerably cultivated. These sisters, had they so chosen, could have long since become public singers of much prominence; since their rich vocal gifts are supplemented by a fine knowledge of music, to which are added also very graceful, winning manners. As it is, they have often delighted their hearers in private circles by their rendering of some of the choicest music of the day. They have occasionally appeared in public, always to the acceptance of large audiences. These ladies inherit their musical talents from their mother, who possessed a voice of more than ordinary range and sweetness.

_Mrs. Dr. G.F. Grant_ (_née_ Georgina Smith), formerly the efficient organist of the North Russell-street Church, has been regarded as a most pleasing vocalist, possessing a very pure, sweet soprano-voice. She was for some time a pupil of the New-England Conservatory of Music; and on more than one occasion was chosen to represent at its quarterly concerts, before large and cultivated audiences in Music Hall, the system taught and fine progress made by the attendants of that institution. On such occasions, her _naïveté_, her graceful, handsome stage-appearance, and expressive rendering, with voice of bird-like purity, of some of the best _cavatina_ music, always elicited the most enthusiastic plaudits and recalls. The writer was fortunately present on one of these occasions, and remembers with much satisfaction the delight he felt, not only in hearing this lady's melodious voice himself, but in witnessing its charming effect on an audience of nearly four thousand people, representing generally Boston's best culture. Her reception really amounted to an ovation. The event was a most remarkable one, and, exhibiting as it so fully did the power of art to scatter all the prejudices of race or caste, was most instructive and re-assuring.

Of her appearance at one of the concerts just mentioned "The Boston Globe" thus spoke:--

... "Miss Smith, a fine-looking young lady, achieved a like
success in all her numbers and in fine presence on the
stage, and in her simple, unobtrusive manner, winning the
sympathies of the audience."

And "The Boston Journal" said,--

"An immense audience, in spite of the storm and the wretched
condition of the streets, assembled in Music Hall yesterday
evening to listen to the quarterly concert of the
New-England Conservatory of Music. The spacious hall was
packed in every part. The most marked success during the
evening was that won by Miss Georgina Smith, who has a fine
soprano-voice, and who sang in a manner which could but
receive the warmest plaudits."

Miss Smith was a member of the chorus, composed of selected singers, that sang at the memorable "International Peace Jubilee Concert," and, although still quite young, has had an experience as a vocalist of which she may well be proud.

_Miss Louisa Brown_, now deceased, was a pianist of ambitious aim and much promise. She had been instructed by some of the best teachers of Boston; but never appeared as a performer in public, being of a retired disposition. She, however, often by her musical performances, as well as by her general acquirements and knowledge in art-matters, afforded pleasing entertainment and instruction for the members of her family and their visitors. In her piano-studies she evinced a taste for only the highest kind of compositions, and, in her rendition of the same, exhibited evidence of most faithful application, and no little proficiency. She was a graduate of the Girls' High and Normal School of Boston, was fairly skilled in drawing, and had added much to her store of general knowledge by a visit to Europe. While in almost the flower of youth, and a state of highest usefulness, she was stricken down by death. All that has here been said, and much more, was expressed in some of the public journals by admiring friends shortly after her decease.

Among those whose musical abilities have thus far attracted much attention, and given promise that their possessor will attain to still higher distinction in the future, I mention _Mr. B.J. Janey_, whose fine tenor-voice has often won for him the praises of private and public audiences. He has studied privately under one of the professors at the New-England Conservatory of Music; is a pleasing performer on the flute; and, as a singer, has more than once been favorably mentioned by the press.

_Miss Fannie A. Washington_ has for some time afforded much pleasure to public audiences as a contralto-singer. She was for a while a pupil of the Conservatory previously mentioned. She has been complimented by the press.

_Miss Ellen Sawyer_ possesses a soprano-voice which is quite elastic, of great range, and strong and clear in the upper register. She has been favorably received on several occasions by public audiences.

_Mr. W.H. Copeland_ and _Mr. E.M. Allen_ deserve mention for their fine rendering of choice music; the former singing tenor, and the latter bass. They are conscientious lovers and students of music, ever seeking to attain to the highest positions as artists. Mr. Copeland's studies are directed at the New-England Conservatory. The ambitious spirit displayed by Mr. Allen is very praiseworthy, he having contended very perseveringly and with much success against great obstacles. He sang in the bass division at one of the great Jubilee concerts.

_Mrs. Cecelia Boston_, who will be better known by her maiden name,--Cecelia Thompson,--has long been much remarked for clever abilities as organist, pianist, and contralto-vocalist.

_Miss Rachel Thompson_ is a ready reader of music, and a good soprano-singer.

_Mrs. Phebe Reddick_, possessing a clear, ringing soprano-voice, adds much to the singing of the Twelfth Baptist Church choir.

_Mr. Francis P. Cleary_, _Mr. James L. Edwards_, and _Mr. George W. Sharper_, all band-directors, deserve mention here for their efforts while connected with such organizations.

Of the musical bodies who play upon instruments of

"Sonorous metal, blowing martial sounds,"

I mention the "_Excelsior Brass Band_;" an ambitious title, it is true, but one which the future may show to be well taken. This band contains a number of young men who seem to be in earnest, and studious; and some of them possess noticeable talent. Their leader, Mr. George W. Sharper, is painstaking, and ambitious to have the band succeed.

Whenever in filling engagements it is necessary to add to the regular force of the "Excelsiors," no difficulty is experienced in securing the services of a number of fine musicians of the other race,--a fact which shows the power of music to destroy the distinctions of caste.

_Mr. Joseph W. Hendricks_ has exhibited a commendable ambition in his efforts to acquire a knowledge of music, devoting several hours each day to practice on the piano-forte.

_Mr. Joseph Thompson_ is an assiduous student of, and fair performer on, the [B-flat]-tenor and the flute. He is a member of the "Excelsior Brass Band."

I have thus mentioned briefly the best-known artists of Boston. As I have indicated, most of them have musical abilities of a high order, entitling them to a much fuller notice than can here be given. There are, of course, others of fine musical attainments who adorn private circles.

Boston contains two or three musical societies, and several vocal quartets. _The Auber Quartet_ have attracted much attention by their very pleasing rendering of some of the best popular music of the day. The names of its members appear hereafter.

_The Progressive Musical Union_ is the name of one of the societies above mentioned. It is well organized. Elijah W. Smith, the poet, is president. The noble purposes of this society are eloquently stated in the following lines, composed by the gentleman just mentioned, and which prefaced the programme of the first public concert given by this society, March 9, 1875:--

"Progressive: ay, we hope to climb
With patient steps fair Music's height,
And at her altar's sacred flame
Our care-extinguished torches light;
And, while their soft and cheering rays
Life's rugged path with joys illume,
May Harmony's enchanted wand
Bring sunshine where before was gloom!

And though we may not walk apace
With Mendelssohn or Haydn grand,
Nor view with undimmed eyes the mount
Where Mozart's shining angels stand;
Yet in the outer courts we wait
Till Knowledge shall the curtain draw,
And to our wondering eyes disclose
The mysteries the masters saw."

The following are the numbers performed on the occasion mentioned:--

PROGRAMME.

=Part First=

1. TRIO FOR TWO VIOLINS AND PIANO _Rhizia_
DAVID OSWELL, MADALINE TALBOT, AND MRS. WILSON.

2. QUARTET.--"Sighing for Thee."
AUBER QUARTET,--MESSRS. SMITH, HILL, RUFFIN, AND HENRY.

3. SONG.--"Down by the Sea" (Bass) _Knowlton_
JAMES HENRY, Jun.

4. DUET.--"On Mossy Banks" _Gilbert_
MISS P.E. ALLEN AND E.M. PINKNEY.

5. SONG.--"Thou everywhere" _Lachner_
MRS. WILSON.

6. ROMANCE.--"Alice, where art Thou?" _Ascher_
JAMES M. SCOTTRON.

7. QUINTET.--"The Image of the Rose" _Reichardt_
MISS P.E. ALLEN AND QUARTET.

=Part Second.=

1. THEMA WITH VARIATIONS.--Violin and Piano _Rode_
DAVID T. OSWELL.

2. DUET.--"Take now this Ring" _La Sonnambula_
MRS. WILSON AND JAMES M. SCOTTRON.

3. QUARTET.--"Soldier's Farewell" _Kinkel_
MESSRS. SMITH, HILL, RUFFIN, AND HENRY.

4. SONG.--"Waiting," with Violin Obligato _Millard_
MISS P.E. ALLEN, MRS. D. WILSON, AND DAVID T. OSWELL.

5. MARCH.--Vocal _Becker_
MESSRS. SMITH, PINKNEY, RUFFIN, AND HENRY.

6. QUARTET.--"Man the Life-Boat" (by request).

7. CHORUS.--"Angel of Peace" _Keller_
WITH ORGAN AND PIANO ACCOMPANIMENT.]

This concert gave delight to a large audience, and was very much praised by the public journals.

I close the list of Boston musical people by presenting the following programme of a hastily-arranged concert given by a number of artists on the evening of April 15, 1874. It is given simply as a specimen of the numbers often performed at concerts by those whose names appear, and by others mentioned heretofore, with but little rehearsal. Although the music is of a fine order, it is by no means as difficult as that frequently rendered by these persons at other concerts, the programmes of which I have not now at hand.

PROGRAMME.

=Part First.=

1. QUARTET.--"Alpine Echoes."
MISS BROWN, MISS F. WASHINGTON, MR. JANEY, MR. FISHER.

2. PIANO SOLO.--"Fantasia Impromptu" _Chopin_
MR. S. JAMIESON.

3. SOLO.--"La Primavera" _Torry_
MISS BROWN.

4. DUET.--"Vien Mio Edgardo" _Millard_
MISS F. WASHINGTON, MR. JANEY.

5. ARIA.--"Infélice" _"Ernani"_
MR. FISHER.

6. DUET.--"While thus around" _"La Favorita"_
MISS BROWN, MR. JANEY.

7. SOLO with Cello Obligato.--"Peacefully Slumber" _Randegger_
MISS F. WASHINGTON.

8. SONG.--"Didst Thou but know" _Balfe_
MR. JANEY.

=Part Second.=

1. QUARTET.--"Sweet and Low" _Barnby_
MISS BROWN, MISS WASHINGTON, MR. JANEY, MR. FISHER.

2. PIANO SOLO.--"Le Courrier" _Ritter_
MR. S. JAMIESON.

3. SONG.--"Queen of the Night" _Thomas_
MISS BROWN.

4. SONG.--"To the Storm Wind" _Evers_
MR. FISHER.

5. DUET.--"Land of the Swallows" _Massini_
MISS BROWN, MISS WASHINGTON.

6. SOLO.--For Violin.
MR. F.E. LEWIS.

7. SONG.
MISS F. WASHINGTON.

8. SONG.--"Love's Delight" _Abt_
MR. B.J. JANEY.

9. DUET.--"I Pescatori" _Gabusi_
MISS BROWN, MR. FISHER.

10. QUARTET.--"What Phrase Sad and Soft" _Bishop_
MISS BROWN, MISS WASHINGTON, MR. JANEY, MR. FISHER.]

_Mr. David T. Oswald_, residing at Worcester, Mass., is an artistic violinist, performing in a finished style the most classical and difficult music for the violin. He has, besides, become deservedly popular as an organizer of musical entertainments, and as a promoter of a regard for good music by the people. He is quite well known in St. John, N.B., Portland, Me., and in Boston, in which places he has frequently appeared at public concerts; and has been often complimented by the press.

_James Caseras_, who was for a long time the organist of a Catholic church in Springfield, Mass., deserves, on account of his great skill as a performer on the organ and piano-forte, particular mention here. He came to this country some years ago from England, where he had attracted much notice for his fine musical qualities. In Scotland he had frequently played before the nobility. A few years ago, shortly after his arrival in this country, he was tendered a reception by some of the first musicians of Boston. This occurred at Mercantile Hall. Here he rendered with most remarkable skill, on the piano-forte, some of the more difficult music of the great masters, receiving the warmest praises of the best judges of art.

_Mr. T.M. Fisher_ of Portland, Me., is noticeable as a fairly good baritone-singer. He has appeared occasionally at concerts in his own city and in Boston, and has been favorably mentioned by the press.

In another place the violin has been recommended as a proper instrument for study and practice by ladies. Among the latter who have given attention to it, I am pleased to mention _Madam Adaline Talbot_ of Portland, Me. She has not yet become a great player, but now shows sufficient proficiency to warrant the belief, that, if she continues her studies of this delightful instrument, she may in time become an excellent performer.

The city of New York has some very excellent musicians.

_John T. Douglass_ is very justly ranked with the best musicians of this country. His fame is by no means confined to New-York City or State, as he has travelled quite extensively, and has been engaged in many musical enterprises. He is a skilful, artistic performer on several instruments, chief of which are the violin and guitar. As a performer on the last-mentioned instrument he has few equals, while for it he has arranged and composed a great deal of music. He has also composed many fine pieces for orchestras and for the piano. When only about twenty years of age, he composed a grand overture called "The Pilgrim." He enjoys an enviable reputation in New York as a teacher of music, and is very remarkable for the enthusiastic, devoted attention he gives to the study of the art. As Mr. Douglass is but thirty years old,--having been born in New York in 1847,--it will be seen that he has made most wonderful progress, and that he has before him a very brilliant future.

_Mr. David S. Scudder_ has fine natural talents, and has made very commendable progress in music. He is a fair performer on the flute, piano, and double-bass; playing quite well Mendelssohn's music, of which he is very fond. He deserves special mention for his successful endeavors to promote a love of good music among his acquaintances.

_Mr. Walter F. Craig_, although quite young, has already attracted much attention, and received the praises of the critics, as a performer on the violin. He is a close student, very ambitious and enthusiastic, and without doubt will ere long be ranked with the first violinists of the day. He has lately composed a march.

_William Appo_ is a veteran musician, having had a long and varied experience, beginning his career when there were but very few persons of his race in this country that could compare with him in scientific acquaintance with music. He was for a long time one of the principal performers in the once famous "Frank Johnson's Band" of Philadelphia. He taught music for several years in New York. Quite advanced in years that have been filled with incidents well worth recording for the instruction of those who follow him, he now leads a retired life on his farm in New-York State.

These pioneer musicians of ours should ever be gratefully remembered. But few, if any, of the large number of musical students of these better times, can realize the vast difficulties that on every hand met the colored musician at the time when Mr. Appo and some others elsewhere mentioned began their ambitious, toilsome careers.

First in loving art with all their might,
They steadily strove in the unequal fight,
Till Prejudice, convinced at last,
Retired, ashamed of the cruel past.
Now _all_ who prize fair Music's ways
Pursue their journey with far brighter days.
The laurel crown, then, give the _pioneer_,
Whom ever in our memories hold we dear.

_Mr. William Brady_, although numbered with those who have passed away, should not be forgotten whenever the noble deeds of colored men are to be mentioned. He was an artist of the finest natural talent, and of varied musical acquirements of a high order of excellence. Mr. Brady was very much esteemed as a composer, being the author of many fine pieces of music, such as quadrilles, polkas, waltzes, marches, and songs. He also essayed more elevated work with fine success, having been the composer of a musical service for the Episcopal Church, and a beautiful Christmas anthem. He died in March, 1854.

Among those of the gentler sex in New York who have won much praise for their fine rendering of vocal music are _Miss Mary Williams_ and _Miss Blanche D. Washington_. They have occasionally sung in other cities at concerts, and have been favorably mentioned by the public journals.

_Mrs. V.A. Montgomery_ and _Miss Emma B. Magnon_ should have prominent mention here on account of their fine abilities displayed in piano-forte and organ performance. They both read music readily,--or "at sight," as we say,--and at present are engaged as organists in New-York churches.

_Miss J. Imogene Howard_, formerly of Boston, but now an esteemed teacher in one of the public schools of New-York City, deserves to be mentioned in this list. When in Boston this lady exhibited commendable zeal in the study of music, and at an early age was quite noticeable for good piano-forte performance. Miss Howard is a graduate of the Girls' High and Normal School of the city last mentioned.

A most encouraging indication of musical progress in the metropolis is the existence there of the _Philharmonic Society_, which was organized somewhat over two years ago. Two or three of its members are fine soloists, while others possess fair abilities. The music practised is instrumental, and all of a high order. The society is divided into two classes, called the one junior, and the other senior. The juniors are the newer and less skilful members: these are required to take lessons of a competent teacher, and are not allowed to play with the senior class until they attain to a certain degree of proficiency. At public performances, of course, only the seniors represent the society. The conductor (who is also president) is _Mr. P.H. Loveridge_; first violin, _Walter F. Craig_; solo cornet, _Elmore Bartelle_; flute, _Ph. Williams_; _William Lewis_, violoncello. At present the society numbers about twenty members, all young men of intelligence and moral character; and it has an excellent library of music, and a fund in bank.

It is entirely unnecessary for the writer to say a word in praise of this enterprise, for its present and prospective good results will be readily perceived by all; nor need he, it is hoped, for the same reason, urge upon the young men of other cities the great importance of organizing similar societies.

_Miss Celestine O. Browne_ of Jamestown, N.Y., possesses fine ability as a pianist. She is thus mentioned by "The Folio" of Boston, in the number for December, 1876: "She is a fine pianist, very brilliant and showy as soloist and accompanist." Again: the same journal, in the number for February, 1877, said of Miss Browne, "A pianist of great merit. Her natural abilities have been well trained. She has a clear touch, and plays with a great deal of expression." This lady has for more than a year been a valued member of the Hyers Sisters concert-troupe.

_Mr. Peter P. O'Fake_ is considered one of the most noticeable of the musicians of Newark, N.J.; which is no slight distinction, since in that city are to be found some of the first musicians of the country. He was born there in 1820. His parents were also natives of Newark. Mr. O'Fake is what is termed "self-taught," and has cultivated most industriously, against many disadvantages, the talents with which he was naturally endowed. He is a skilful, expressive performer on the violin (his specialty) and the flute. He has, of course, often performed in public. In 1847 he took a prominent part at a concert given by the notable Jullien Society of New York, playing on the violin _De Beriot's Sixth and Seventh Airs with Variations_. In 1848 he took position on one occasion as leader in the Newark-Theatre orchestra,--a rare distinction for one of his race, on account of the prevailing color-prejudice. In 1850 he performed in Connor's Band at Saratoga, playing at times the cornet and flute. These are some of the most notable of his public appearances. He is occasionally called upon to take part in concerts given by the various musical organizations of Newark, the accident of complexional difference but seldom serving to counteract the effects produced by his well-known musical abilities. He often furnishes the music for receptions given at the homes of the _élite_ of Newark. Mr. O'Fake has composed, and his orchestra often performs to the great delight of all who hear it, a most bewitching piece of quadrille-music called "The Sleigh-Ride," in which he most ingeniously and naturally introduces the crack of the whip and the merry jingle of the sleigh-bells. At such times the dancers are excited to a high state of joyousness by the bewitching music, the latter being of a character so suggestive as to cause them to almost imagine themselves in the enjoyment of a veritable sleigh-ride. This composition has greatly added to the fame of the author.

Mr. O'Fake is also a fair vocalist,--singing baritone,--and has been director of the choir of one of the Episcopal churches in Newark since 1856. This choir frequently renders Dudley Buck's music, and that of others among the best composers, eliciting most favorable comments from the press.

_Misses Rosa and Malvina D. Sears_ are musical people of Newark, N.J., who deserve mention here.

_Philadelphia_ has, of course, many fine musicians. The most prominent vocalists are _Madam Brown_, _Mr. John Mills_, and _Mrs. Lucy Adger_; and the most prominent instrumentalists are _Miss M. Inez Cassey_, pianist, _F.J.R. Jones_, violinist, and _Edward Johnson_, violinist.

This city enjoys the honor of having been the home of _Mr. Frank Johnson_, and the place of organization of the celebrated brass band that bore his name. It has been the intention of the writer to give a somewhat extended sketch in this book of this famous impressario and his talented body of performers; but as yet he has not succeeded in obtaining the necessary materials. He will mention, however, briefly, that Mr. Johnson was a well-educated musician, very talented and enthusiastic, with fine powers for organization and leadership. He was exceedingly skilful as a performer on the bugle. In his hand this instrument

"Became a trumpet, whence he blew
Soul-animating strains: alas! too few."

Besides, he played well several other instruments. He was very much esteemed, and was foremost in promoting in many ways the musical spirit: he was, in fact, the P.S. Gilmore of his day. His band attracted much attention all over the country for fine martial music.

Some time between the years 1839 and 1841 Mr. Johnson organized a select orchestra, with which he visited several of the principal cities of the country, "astonishing the natives" by a fine rendering of the best music in vogue at that time. Indeed, the novelty formed by such an organization,--all colored men,--its excellent playing, and the boldness of the enterprise, all combined to create a decided sensation wherever these sable troubadours appeared. It is said that sometimes, while the band was on this tour, many persons would doubt the ability of its members to read the music they were playing, believing that they performed "by ear," as it is called; nor could such persons be convinced of their error until a new piece of music--a piece not previously seen by them--was placed before the band, and by the same readily rendered from the printed page.

Mr. Johnson at one time visited England with his band, and gave concerts in all the principal cities, being received everywhere with the most demonstrative marks of favor. They were invited to play before Queen Victoria and her court. This noble-hearted sovereign was so highly pleased with the musical ability displayed by Mr. Johnson and the other members of the band, that she caused a handsome silver bugle to be presented to him in her name. Returning to this country with such a nobly-won mark of honor, he became the centre of attraction, and thereafter, as a musician, easily maintained before the country a position of great popularity. At his funeral, which occurred in 1846, the bugle just alluded to was placed upon the coffin, and so borne to the grave, as a fitting emblem of one of the important victories he had won, as well as of the music-loving life he had led.

The memory of this gifted musician and indefatigable worker should long be kept green in the hearts of all the members of his race, and in those of his countrymen in general. For the former he of course performed a specially noble service in demonstrating so powerfully its capability for musical comprehension and for the scientific performance of music,--points which, strange to say, were much in dispute when he began his career; while in his well-nigh matchless ability as a musician, displayed in no selfish manner, but in a way that promoted in a high degree a general love for the elevating art of music, Frank Johnson proved himself an honor to the whole country, and one who should be long and gratefully remembered by all.

The band continued in existence, and was much in demand, for many years after the great leader died, retaining its old and honorable name, "Frank Johnson's Band." _Mr. Joseph G. Anderson_ next became director. This gentleman was a musician of most remarkable powers, both natural and acquired. He performed in a very skilful manner upon almost every instrument that was in use, reading music like one reads a book. In short, it has been said of him, that "what he did not know of music was not worth knowing." He, too, was a great organizer; and he showed himself, in many important respects, a fit successor of Johnson.

When, during the late war, the State of Pennsylvania was forming regiments, Mr. Anderson was kept busily employed for a long period organizing and instructing brass bands for many of these regiments. With his great musical skill and experience, he proved to be indispensable at this time to the State, and won the brightest of laurels.

Under Mr. Anderson's leadership, the band was occasionally engaged to go to distant parts of the country to play for gatherings of one kind and another. The writer well remembers when in 1852, on "St. John's Day," this fine corps of musicians came to Cincinnati. With ranks so deployed as to almost extend across Broadway Street, they moved in most soldierly manner up the same at the head of a Masonic order, playing indeed most "soul-animating strains," and winning the while the warm admiration of a vast throng of people that lined the sidewalks. Ah! we were very, very proud of them; so elated with their triumphal entry, and so inspirited by the noble music, that it seemed as though we could have followed them for days without yielding to fatigue.

Mr. Anderson died at Philadelphia in 1874.

The successor of "Frank Johnson's Band" is called "The Excelsior." I am informed that the latter consists of a number of superior musicians.

"Madam Brown" was long regarded as the finest vocalist of her race in this country, while only a few of the other race could equal her. Although now no longer young, she still sings artistically and beautifully. Her _repertoire_ comprises the gems of the standard operas; and these she has sung, and does now sing, in a style that would reflect honor on those far more pretentious than herself.

The other day, while looking over the "scrap-book" of a friend, I met with another of those pleasant surprises that have occasionally cheered me since I began this volume. In this "scrap-book" I found a large number of cuttings from Philadelphia, New York, and other papers, that related to the concerts given in the year 1856, and later, by _Miss Sarah Sedgewick Bowers_. By these comments, I find that this lady possessed a voice of most charming power and sweetness, and that in her interpretations of operatic and music of a classical character she was well-nigh, if not quite, equal to the finest cantatrices then before the public. These papers styled Miss Sedgewick--this was her professional name--the "Colored Nightingale."

It would perhaps be interesting to here append a number of these very complimentary comments. A single and representative one must, however, suffice. It is from "The Daily Pennsylvanian" of May 3, 1856.

"We have never been called upon to record a more brilliant
and instantaneous success than has thus far attended this
talented young aspirant to musical honors. From obscurity
she has risen to popularity. She has not been through the
regular routine of advancement; but, as it were in a moment,
endowed by nature with the wonderful power of song, she
delighted the circle in which she moved, and is now
enchanting the public. Last evening the hall was thronged at
an early hour. In every song she was unanimously encored."

Miss Bowers now lives quietly at her home in Philadelphia, singing in public only on special occasions. She is, of course, still a devoted lover of the art of which she has been so fine an exponent; while she yet possesses, through voice and method, the power to charm an audience.

The name of _Mr. John Moore_ should be mentioned here. He was a born musician, so to speak, and was ever "full of music." I remember him as the leader of the band of the Fifty-fifth Massachusetts Regiment during the late war. Although in this position he generally played upon the [E-flat]-cornet, he could also play most of the other instruments used in the band; and was, besides, a good performer on the violin and flute. Very pleasant recollections of "our band," as we soldiers fondly termed it, remain, I am quite sure, with all the surviving members of the Fifty-fifth Regiment. In camp-life it often enlivened the dull hours, and gave, by sweetest music, a certain refinement to what would have been without it but a life of much coarseness; while upon the wearisome march we often forgot our fatigue as we briskly marched, keeping step to the animating music. To Mr. Moore, the leader, much praise is due for the great benefits afforded the members of the regiment by good music; nor do we forget the skill displayed by the other members of the band, which enjoyed the reputation of being the best in the Department of the South. Mr. Moore died at Philadelphia in 1871.

_Professor Lott_ of Pittsburgh, Penn., has attracted attention as one of the very first violoncellists of the country. He has travelled quite extensively in the United States with a concert-troupe.

_Mr. Z.A. Coleman_ is a good singer of bass.

_Mr. E. Minor Holland_ of Cleveland, O., is a good performer on the [B-flat]-cornet, violin, and double-bass. He is quite a young man, and, possessing much talent, may become a musician of great merit if he continues his studies.

_Miss Mary F. Morris_ performs upon the piano-forte with fine skill and taste, and is a vocalist of excellent powers. She has pursued her musical studies in the Cleveland Convent, the teachers of which enjoy a high reputation; and also under Professor Alfred Arthur, one of the finest instructors of Cleveland.

_I.A.D. Mitchell_, playing the [E-flat]-cornet, is the very efficient leader of a band.

_Miss Annie Henderson_ is a very pleasing vocalist. She also studied at the convent previously mentioned, and under Professor Arthur.

_Miss Clara Monteith Holland_, a young daughter of Justin Holland, the celebrated guitar virtuoso, gives much promise of becoming a brilliant pianist.

Washington, O., enjoys the honor of being the home of _Mr. Samuel Lucas_, a fine baritone character-singer, the author of a book of songs. He, besides, has but few equals as an actor in comedy; has travelled throughout the country as a performer, receiving everywhere the warmest praises of the press.

While on a visit to his home last summer, Mr. Lucas was the recipient of a complimentary benefit tendered by the admiring citizens. The offer of this flattering testimonial was signed by over fifty of his most respectable townsmen, and the affair was in all respects a successful one. Mr. Lucas was assisted in the performances by the following young ladies: Misses S. Logan, Dora Chester, Laura Reed, Delia Lamon, S. Melvin, and Fannie Chester. Mr. Lucas is at present a valued member of the Hyers Sisters opera-troupe, who are performing in "Out of Bondage" throughout the West.

"The Milwaukee Sentinel" of a late date thus alludes to his performances with this troupe:--

"As an actor he takes high rank; but it was in his singing
that he made an already-delighted audience more pleased than
ever. His rendition of 'Grandfather's Clock,' with distant
chorus and refrain, was the sweetest music we ever listened
to. The audience was breathless; the lowest whisper could be
heard distinctly all over the house; and, as the last tones
died away in the seeming distance, a hush as of death came
over the audience, followed by thunders of applause."

The writer would be very remiss did he fail to mention here the very remarkable music-loving spirit which has been exhibited by the colored people of Chillicothe, O. This very forcibly arrested his attention, when, several years ago, he visited that somewhat ancient city, once the capital of the State. It was then found that among the class of persons just mentioned--who formed, by the way, only a small portion of the city's entire population--there existed two or three singing societies, two brass bands (the latter the only organizations of the kind then in existence there), and two church-choirs, one of the same being composed of very good vocalists indeed.

In 1857 _Rev. John R. Bowles_ organized in Chillicothe a choir for his church, under the leadership of _Jas. D. Hackley_. This choir was considered one of the very best in Southern Ohio. Its leader possessed a tenor-voice of rare sweetness and power, and was quite proficient in rendering church-music, and in directing the singing of the same by his choir. But a few persons in the State equalled Mr. Hackley in the possession of these qualities. Of the two bands, the one called the "_Scioto-Valley Brass Band_" was organized in 1855 under the leadership of _Richard Chancellor_ and _John Jones_. The other was called the "_Roberts Band_," and was organized in 1857, the directors being _Thomas Harris_ and _William Davis_. In 1859 these two organizations were united under the name of the "Union-Valley Brass Band," _Thomas Harris_ and _A.J. Vaughn_ leaders. This consolidation, composed of the best musicians of the two bands previously in existence, made a corps of performers that was unequalled in Ross and the adjacent counties, while it was one of the finest in the State. They owned a handsome bandwagon, and furnished the music for all such gatherings--irrespective of the color of the attendants--as county fairs, picnics, celebrations, political meetings, &c., throughout Ross County. This band contained several performers of such excellent natural and acquired abilities as would render them prominent among the best musicians of any section of the country.

Besides those already mentioned as leaders, I would now refer to _Mr. William H. Starr_, one of the finest musicians of Ohio. He has been for a long time the leading spirit in all matters musical among the people. A good reader of all kinds of music, Mr. Starr easily gives it beautiful expression on any one of the many instruments used in a brass band of ordinary size. On several of these he is a pleasing soloist. His favorite is the [E-flat]-alto, while he is also a skilful arranger of music for them all. Mr. Starr has also composed a number of pieces for his own and other bands; besides others, a quickstep, a march, and a polka. As a teacher Mr. Starr has been quite successful. One of his former pupils is now the leader of a band.

_Mr. Thomas Harris_ should also have special mention here. He was a superior [E-flat]-cornet player, a good bugler, and a very good performer on the clarinet; a good reader of music for each of these important instruments.

_Mr. William H. Dupree_, at one time the very efficient manager of the Union-Valley Brass Band, in which he was also a performer on the [B-flat]-baritone, is a gentleman whose history is such as to warrant particular mention here, not only on account of his having always possessed an ardent music-loving spirit, but also from his general intelligence, and the fine progress he has made in attaining to several high stations of honor and usefulness. Mr. Dupree remained a member of the band in Chillicothe until 1863, when, on the first call for colored troops for the late war, he went to Massachusetts, and enlisted in the Fifty-fifth Regiment. He became first sergeant of Company H; in which position he won golden opinions from those in command for his strict attention to duty, his steady and rapid acquirement of military knowledge (becoming one of the very best drill-masters and disciplinarians of his regiment), and for his generally fine, officer-like bearing. At one time Sergeant Dupree was manager of the regimental band, in which position he rendered important service. In 1864 he was promoted to the grade of a commissioned officer,--a rare distinction for one of his race, owing to causes so well understood that they need not be mentioned here. In this new place of honor he so discharged his duties as to prove the wisdom of those who tendered the appointment; for he was always distinguished for an increased display, if possible, of those excellent qualities, the possession of which caused his promotion.

Mr. Dupree is now the very capable and popular superintendent of Station A Post Office in Boston, Mass. This office is situated in a district that comprises nearly forty thousand inhabitants, composed, for the greater part, of those among Boston's most intelligent and wealthy citizens. He was formerly connected with a musical organization in Boston. Although prevented by his other occupations from devoting much attention to music, Mr. Dupree has lost none of his old-time love for it; nor has he forgotten the pleasant days of yore when he was connected with the brass band at Chillicothe, of whose members he now speaks in terms of the most friendly regard.

Cincinnati now claims to be (very justly too) a decidedly musical city; and Boston and other older places, which have all along enjoyed the reputation of leading in matters pertaining to general art-culture, have been warned to look well to their laurels if they would not lose them through the advancement made by this their younger sister, so long considered the "Queen of the West." It is true that this distinguishing title has within a few years been claimed by Chicago, and even St. Louis. These latter, however, base their right to the name mostly on the results of the census-returns. In all that relates to the substantial greatness of a city,--viz., the general intelligence, solidity of character, and proportionate wealth of its inhabitants,--Cincinnati, I think, may still be considered as approaching nearer to the Eastern cities than either of the others mentioned. This is certainly true as regards the musical devotion of its people; and this characteristic is the one, perhaps, which most threatens the supremacy so long held in the East.

Having said this much of Cincinnati's residents in general, it will of course be expected that a very promising and brilliant addition is now to be made to these records. The reader, however, must be reasonable, and not expect _too_ much; for the same depressing causes (these have already been sufficiently particularized in other parts of this book) which have operated in other sections of the country against the subjects of these sketches have been also always fully in force in Cincinnati. It is thought that all candid observers will agree with the writer when he confidently avows his belief, that no other people, while laboring under so many disadvantages, would have or could have done better than these have done. But, judging from the facts at hand, there is really no need to beg the question; and therefore, without offering further excuses, I shall proceed with the record.

The colored children attending the public schools of Cincinnati are regularly taught to read music. They are frequently complimented for their good singing by their music-teachers.

The mention of the Cincinnati schools, by the way, brings to the writer's mind very pleasant recollections of his boyhood's home, and of the times when he attended school there. Twenty-five years ago, the colored school-children of Cincinnati were much remarked for excellent singing. They were not then, as they are now, taught to read music in the schools, but readily "caught" the pieces to be sung from the teacher, who sang them over a few times. I remember that at one time our favorite school-song was one called "The Captive." But only detached portions of it come to me now. It was a piece descriptive of the fortunes of war. A soldier of the defeated army is left behind a prisoner. The song describes his longings for freedom, and desire to rejoin his now-distant comrades.

I think the chorus ran in this wise:--

"Sound again, clarion,--clarion loud and shrill!
Sound! Let them hear the captive's voice.
Be still, be still!"

No answer being made to this signal, the prisoner thus laments his cruel fate:--

"They have gone; they have all passed by,--
They in whose wars I have borne my part,
They whom I loved with a brother's heart:
They have left me here to die."

The melody was quite pretty, and the solo of the captive was of music so appropriate and pathetic as to bring tears to the eyes of both singer and auditory. Some of my former schoolmates, now grown to womanhood and manhood, will probably remember better than myself this song and others that with "glad hearts and free" we used to sing so earnestly in the schoolroom and at our school-exhibitions. From what I learn from credible sources, it may be stated, that a visit now to the schoolrooms of Cincinnati would reveal a scientific acquaintance with music so great as to almost prevent the making of a comparison between the two periods under consideration.

The Mozart Circle, under the direction of _Mr. William H. Parham_, is a vocal organization of twenty-five members, established about three years ago. In July, 1875, this society gave a public performance, in costume, of the cantata of "Daniel." No attempt was made to notify the press that the cantata was to be rendered; but a gentleman of fine taste, and one who is generally on the lookout for all signs of art-advancement made by the colored people, was present on the occasion referred to. His impressions of the performance were recorded the next day in the Cincinnati "Gazette" and "Commercial," and were as follows:--

CONCEALED MUSICAL TALENT.

MR. EDITOR,--Permit me the use of a small space in your next
issue to speak in deserved praise of a musical entertainment
enjoyed by a portion of our citizens last Monday night.

It was the cantata of "Daniel," rendered in full costume by
the recently organized Mozart Circle, which, embracing about
twenty members, has in the short space of six months
developed a capacity which gave them success in this
enterprise. It is a pity that their excessive modesty
prevented their seeking the service of the press; for they
have thereby kept themselves in an obscurity which it is my
hope that this article will serve to draw them from. The
preparation made for this entertainment should not have its
service limited to a single occasion. It deserves
repetition, and an appreciative public deserves the
opportunity to enjoy it.

Louisville, Columbus, Toledo, Cleveland, and other cities
more or less remote, would give themselves a treat, could
they prevail on the Circle to render the cantata in their
midst. Not having consulted any one connected with it, it is
a voluntary suggestion from me, that parties craving the
enjoyment of a refined musical entertainment open
communication with Mr. William H. Parham, its musical
director.

W.P.W.

CINCINNATI, July 7, 1875.

The _Rev. Thomas H. Jackson_, pastor of Allen Temple, himself an excellent singer, a few weeks ago organized a select choir for the purpose of rendering the cantata just mentioned. _Mr. William H. Morgan_, who sings in the principal _rôle_, is a young gentleman quite worthy of the high praise which his performances have elicited. All the members of the choir sing well; but among them no one gives more marked promise than does a young schoolgirl of only thirteen years, named _Elnora Johnson_. The compass and sweetness of her voice are considered marvellous. This society promises to give the cantata "Esther."

From the foregoing it will be seen that much attention is being given to a study of some of the higher forms of composition,--a very encouraging sign indeed.

Another vocal society is called the Arion Quartet Club. _Messrs. Andrew D. Hart_ and _John Lewis_ are two of its members: the names of the others I have not learned.

There are at present no instrumental societies except one or two very good quadrille bands.

_Mrs. Ann S. Baltimore_ is an accomplished pianist, and possesses, besides, a melodious voice. She has been favorably noticed by the press.

_Professor Moore_ plays skilfully the parlor-organ and piano-forte. He teaches the playing of these instruments, and also teaches vocal music.

_Mr. D.W. Hamilton_ is the very popular leader of a string-orchestra.

The private circles of Cincinnati are ornamented by several classical singers of both sexes.

First among the ladies is _Miss Fannie Adams_. She is welcomed as a member of the Cincinnati Choral Society; and is a skilled pianist, giving lessons on that instrument.

_Misses Ernestine and Consuelo_, daughters of Peter H. Clark, Esq., are sweet and scientific singers. They are pianists also.

_Misses Mary and Fannie Cole_, members of the Mozart Circle, are distinguished for the beauty of their voices, the last-mentioned particularly.

_Miss Sarah Werles_ has a voice which is much appreciated, and under her fingers the cabinet-organ itself seems to sing.

_Misses Ella Smith_ and _Ella Buckner_ must not be forgotten as valuable aids on public musical occasions.

Among the males, _James P. Ferguson_ is distinguished as a bass, and _Thomas Monroe_ as a tenor singer.

_Joseph Henson's_ voice always has in it music of an inspiring character.

_Fountain Lewis, jun._, was diligently prepared during his boyhood for an organist, and in that direction is proving quite worthy of his father's care.

By reference to a programme of a combined dramatic and musical entertainment given in Cincinnati in May, 1876, under the direction of the popular elocutionist, Powhatan Beaty, I find the names of the following musical people not previously mentioned:--

Mr. Charles Hawkins performed "Streamlets" and "A Summer's Reverie" on the piano; Mrs. Emma E. Clark sang the solo, "Brightest Eyes;" Mr. Charles Singer sang a baritone solo; Mr. Edwin de Leon sang "Poor Old Joe;" and Mr. William H. Jones sang "My Soul is Dark."

I am not informed as to the extent of proficiency displayed on this occasion by these performers; but relying, as I ought, upon the good judgment of Mr. Beaty, presume that he called none to his aid except those at least fairly skilled in the rendering of music. The above names are, therefore, recorded here.

The city of Chicago contains quite a large number of very excellent musicians belonging to the race whose acquirements are here recorded. Besides several very fine church-choirs, there is a large organization of well-trained vocalists, the performances of which have been highly spoken of by the journals of Chicago and those of other cities in the State of Illinois.

_Mrs. Frances A. Powell_, the founder and directress of this society, is also the leading soprano of the Olivet Baptist Church choir. She was educated at Buffalo, N.Y.; and her superior powers as a vocalist have been made the occasion of very flattering testimonials by the press of Chicago and of the States of Illinois and Wisconsin.

_Mrs. Harriett E. Freeman_, an excellent mezzo-soprano, leading the singing of Quinn-Chapel choir, has been complimented by the press. She was educated at New Bedford, Mass.

_Mrs. Charlotte M. Alexander_, leading soprano of Bethel-Church choir, was educated at Cincinnati.

_Mrs. Bessie Warwick_, soprano and brilliant pianist, was formerly a pupil of Professor Baumback of Chicago.

_Mrs. Hettie Reed_ possesses a contralto-voice of remarkable purity and sweetness. She is one of the principal singers of the society first mentioned, and has been highly complimented by the critics of Illinois and Wisconsin.

_Miss Eliza J. Cowan_, educated at Chicago, a member of the Olivet-Church choir, is a very promising contralto-singer.

_Miss Flora Cooper_ has a voice of such great depth, that it really may be styled baritone. She was educated in Chicago, and is a teacher in one of the public schools of that city.

_Mrs. Esther Washington_ (_née_ Miss E. Fry) is a finished performer on the organ and piano-forte. This lady is a graduate in thorough-bass and harmony from Warren's Conservatory of Chicago.

_Miss Frankie Buckner_, an accomplished organist and pianist, received her training at Detroit. She has been praised by the papers of Madison, Wis.; was at one time pianist to a large singing society: and is a contralto vocalist.

_Mr. William D. Berry_ is a finely-cultured tenor, a ready reader of music, and excellent in oratorio performance. Mr. Berry formerly lived in Hamilton, Ont.

_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 basso 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 entitled to be ranked as artists.