Chapter VII: Henry F. Williams,

COMPOSER, BAND-INSTRUCTOR, ETC.

"Thy purpose firm is equal to the deed."

"His lyre well tuned to rapturous sounds."

A writer in "The Progressive American" for July 17, 1872, said,--

"Having occasion to visit Boston, I attended one of the
unrivalled concerts at the Coliseum, where, to my great
astonishment, I saw undoubtedly the greatest assemblage of
human beings ever congregated under one roof, and heard a
chorus of nearly or quite twenty thousand voices,
accompanied by the powerful organ and an orchestra of two
thousand musicians. I was highly delighted. But what gave me
the most pleasure was to see among some of the most eminent
artists of the world two colored artists performing their
parts in common with the others; viz., Henry F. Williams and
F.E. Lewis. Each of these was competent to play his part, or
he could not have occupied a place in the orchestra. I was
informed by the superintendent of the orchestra that both
these man were subjected to a very rigid examination prior
to the commencement of the concerts."

The pleasure afforded this writer, by witnessing our subject's appearance on the memorable occasion referred to, was shared by many other persons who were able to distinguish him in that vast concourse of fine musicians. It was not so easy to distinguish him from the others by his complexion as it was by his dignified, graceful appearance. Of this, as well as of Mr. Williams's musical skill, the organizer of the great orchestra, Mr. Baldwin, has, since the event, spoken to me in terms the most complimentary. He said it was not more Mr. Williams's good playing, than his handsome, manly appearance in the orchestra, that afforded him pleasure; and that in both of these particulars Mr. Williams stood in favorable contrast with many other members of the orchestra. This was high praise indeed, but no higher than its recipient deserved, as all will testify who know him.

As stated in the extract just quoted, Mr. Williams, before being accepted as a member of the Jubilee orchestra, was subjected to a severe test; being required to execute on the double-bass the parts written for that instrument in the celebrated overture from "William Tell," and also in Wagner's difficult "Tannhäuser." In regard to this test Mr. Baldwin has since said to the writer, "I myself had no doubts as to Mr. Williams's ability as a musician. My object in arranging the test performance was, that I might afterwards point to its successful result, and thus silence many of the instrumentalists that came from other parts of the country, in case they should object (I knew that many of them would do so), on the weak ground of _color_, to playing with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra was _good musicians_, and, when any one objected to our two colored performers, we triumphantly referred to the exacting and satisfactory test they had undergone as sufficient answer to the foolish clamors of all those afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus resolved, and convinced that the two colored men were artistic performers,--superior in ability to many with whom they were to be associated,--no one declined to play; and all was harmony thereafter."

And here I may be permitted to record the thanks of all well-meaning people for the noble action of Messrs. Gilmore and Baldwin. The two artists mentioned were not the only members of their race who took a part in the memorable Jubilee concerts. Several others in a vocal way occupied even prominent positions at these concerts. Some sang as artists on the stage, and several were members of that great chorus of nearly twenty thousand voices. In all these places they did their share in making the occasion a grand success, while they justified fully the wisdom of those by whom they were invited to participate. The action of the latter was no more than what was due and right, it is true; but it is well to remember (for we must take things as we find them) that Messrs. Gilmore and Baldwin were not obliged to engage these persons. Had the former not been men of pure principles and firmness, they might have yielded to the mean and by far too popular prejudice entertained against colored people, and have refused to allow them to take part in the performances. That they did not thus yield is much to their credit as musicians and gentlemen; and they are to be thanked, I say, for their manly action.

The little ripple of excitement caused by Mr. Williams's appearance among the musicians of the Jubilee might well have provoked from that gentleman a smile of contempt; for he was a far older and much more skilful performer than many who at first objected to playing with him. He had, indeed, more than thirty years of musical experience behind him,--years which were full of manly, persevering struggle against great odds, and years during which he had many times triumphed over opposition far greater than that met by him at the Coliseum. Born in Boston Aug. 13, 1813, beginning his studies when but seven years of age, he had, mainly by his own efforts (he is in the truest sense a "self-made man"), become a thorough musician; was a superior performer on the violin, double-bass, and the cornet; a fair performer on the viola, violoncello, baritone, trombone, tuba, and piano-forte; having been besides for years an esteemed teacher of most of these instruments. Nor did his musical powers stop here; for in addition to being a skilful arranger of music for the instruments just mentioned, and others, he was a composer, many of whose works bore the imprint of several of the most eminent music publishers of the day. Learning these facts, no wonder that those who at first opposed Mr. Williams's entrance into the grand orchestra (these persons, by the way, were not residents of Boston, but came from the West and South) afterwards were ashamed of their foolish prejudices, and became his warm admirers.

Mr. Williams, as an instrumentalist, devotes himself especially to the violin and the cornet. Upon these he executes in a superior manner the finest music of the day. Possessing fine natural talents, of great versatility, and of long study and experience, he is enabled to play any kind of music; passing with the utmost ease from the "light fantastic" of the dance to the grave and profound of the old masters: in either kind he is always noticeable for the finish and tastefulness of his performance. He has given much of his time to the formation and instruction of military bands, frequently arranging and composing music for them. In the former capacity--that of arranging music--he has often been employed by P.S. Gilmore, director of the celebrated Gilmore's Band, and projector of the two great Peace Jubilees. He was at one time connected with the famous "Frank Johnson's band" of Philadelphia, and of several others in the West, travelling extensively, and giving instruction in music. A short while ago, the manager of the Boston Cadet Band--successors of Gilmore's--showed me a quickstep in manuscript, of the merits of which he spoke very highly, composed by Mr. Williams for the first-mentioned band.

The following is only a partial list of the many songs (words as well as the music his own) of which our subject is the author:--

"Lauriette," [Transcriber's Note: 'Lauriett' in the Appendix] published by Firth & Pond, New York, 1840; "Come, Love, and list awhile," published by Pond & Hall, New York, 1842; "It was by Chance we met," published by O. Ditson & Co., Boston, 1866; "I would I'd never met Thee," published by O. Ditson & Co., Boston, 1876.

Of the above, "Lauriette" had a large sale, the _publishers_ realizing a considerable profit from the same. In 1854 O. Ditson & Co. published his "Parisien [Transcriber's Note: 'Parisian' in the Appendix] Waltzes." These are a set in five numbers, with a fine introduction, and containing some very bright and sweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation. Besides the above, Mr. Williams has composed eight or ten polka-redowas, and several mazurkas and quadrilles (some of these have been published); and he is the author of several overtures.

Early in his career he composed an anthem which was much praised by persons of musical judgment. At that time so greatly was the judgment of people affected by color-prejudice, that many persons doubted the ability of one of his race to create a work so meritorious as the one just mentioned. They were, however, soon compelled to admit that Mr. Williams was the talented author of it.

Lowell Mason, the eminent composer of sacred music, was one of those who at first entertained doubts as to the authorship of the anthem; and he, like the others, finally yielded to stubborn facts. Moreover, becoming acquainted with our subject, and learning more of his fine abilities as a musician, Mr. Mason remarked that it was a pity one so talented should be kept down merely on account of the color of his face. I am sorry to say, nevertheless, that this gentleman could rise no higher above the common level of that day than to advise Mr. Williams to go to Liberia. Had Mr. Mason, who was so original and bold in music, been only half as bold in creating a sensible, a humane public sentiment; had he, as he looked with pity upon this gifted and devoted young musician struggling against the ignoble spirit of caste to gain a place in art, thrown his great influence on the side of what he confessed was right; and had he, instead of advising Mr. Williams to _bury_ himself in Africa, declared that the latter should have an equal chance with others in _this_ country in developing his musical powers,--had Mr. Mason done this, I say, I feel sure that such encouragement, coming in the very "nick of time," would have resulted in placing the subject of this sketch far above even his present excellent position as a musician, while such noble action on the part of Mr. Mason might to-day be considered as an additional gem in the latter's confessedly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dislike to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promoters; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written several overtures: one of these was for the orchestra of the famous Park Theatre. At present he is constantly engaged in arranging and composing music.

In concluding this brief sketch, which I fear falls short of doing its subject justice, I will only add, that in the remarkably fine achievements he has made under circumstances and against difficulties that would have caused many to falter, indeed, to yield in despair,--chief among these difficulties being the hateful, terrible spirit of _color-prejudice_, that foul spirit, the full measure of whose influence in crushing out the genius often born in children of his race it is difficult to estimate,--in Mr. Williams's triumphs in a great degree against all these, I say, is presented an instance of art-love, and of manly, persevering devotion, that is truly heroic. Falling short, as he does, of an eminence, that, had he been born with a fairer complexion, would ere this have been his, his life is yet a grand example to those younger members of his race who are beginning their careers in the world of music when fairer skies light their pathway; when the American people, regretting the depressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement to _all_ who exhibit musical talents, and evince a conscientious desire to improve the same. Mr. Williams may remember with pride that to this gratifying result he has in a very marked degree contributed; and that therefore, in spite of some disappointments, his musical life has really been a noble success.