Music and Some Highly Musical People

"The New-York Herald,"—

"The Memphis Appeal,"—

"The Indianapolis Journal,"—

"The Petersburg (Va.) Index,"—

"The Philadelphia Inquirer,"—

"The Philadelphia Record,"—

"The Cincinnati Commercial" says,—

"The Brooklyn Eagle" says,—

"The Cincinnati Inquirer" says,—

"The Baltimore News" says,—

"The Brooklyn Union" says,—

"The Memphis Appeal" says,—

"The Baltimore American" says,—

William Lloyd Garrison writes,—

Mr. P.T. Barnum says,—

Said Dexter Smith, the eminent song-writer,—

And the Boston "Folio," that excellent journal of music,—

"The Boston Herald" said,—

Again the same paper said,—

"The Boston Advertiser" said,—

The "Chicago Post,"—

I need only further mention, in conclusion, that several members of this troupe possess musical and histrionic abilities of an order so high as to fit them to grace stages of a more elevated character than the one upon which they now perform. Indeed, one formerly attached to it is now a valuable member of the "Hyers Opera Company." On the minstrel boards his talents as a singer and actor were developed. It is to be hoped (and here I crave the pardon of Mr. Callender, their gentlemanly director, who is requested to try to appreciate the good motive, at least, that prompts a suggestion which seems to aim at the disintegration of his famous company) that others of the "Georgias" will follow his example. Their motto should constantly be, "Excelsior!"

I have been informed that in the city of Boston, at a certain time, not many years ago, the then directors of the three principal theatre orchestras were persons who had previously been members of minstrel troupes. It is also known that several of the finest operatic singers in this country learned their first lessons at this same school,—the minstrel stage. In their new, higher, and of course far more desirable positions, these persons have achieved artistic results which reflect upon them the highest credit, and which show also that the minstrel profession has some beneficial, elevating uses, notwithstanding all that may be truly said against it.

PART SECOND.

OTHER REMARKABLE MUSICIANS,

AND

THE MUSIC-LOVING SPIRIT OF VARIOUS LOCALITIES.

I.

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,—

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:—

And "The Boston Journal" said,—

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♭-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:—

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

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.

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.

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

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.