"Sous sa Fenêtre," published by Louis Grunewald, New Orleans.
"Le Chant du Départ," published by Louis Grunewald, New Orleans. (Two editions issued.)
"Rappelle-toi," published by Louis Grunewald, New Orleans. (Two editions issued.)
"Grand Scène Lyrique" (solo and duetto).
"Graziella" (overture for full orchestra).
"Le Vampire" (vocal and instrumental).
"Le Bohémien" (vocal and instrumental).
"Le Chant des Canotiers" (trio); and a large number of Polkas, Mazurkas, Quadrilles, and Waltzes.
Professor Snaer is also a man of letters, a littérateur; and in such matters, as well as those of music, much deference is paid to his judgment by his contemporaries.
Mr. Henry Staes is a youth quite ardent in his study of the piano-forte.
Mr. Lanoix Parent, formerly a member of the Philharmonic Society, is a performer on the violin, viola, and some other instruments.
Professor A.P. Williams, born in Norwich, Conn., in 1840, is highly esteemed as a vocalist and pianist. He is an efficient teacher of vocal and instrumental music. He received his musical training from his father, Mr. P.M. Williams, who, a native of Massachusetts, was a proficient vocalist and organist. Professor Williams is a man of decided intellectual merit, and is principal instructor in a grammar-school in New Orleans.
Mr. E.V. Macarty, a native of New Orleans, was born in 1821. He began lessons on the piano under Professor J. Norres. In 1840 he was sent to Paris, where, through the intervention of Hon. Pierre Soulé and the French ambassador to the United States, he was admitted to the Imperial Conservatoire, although he was then over the age prescribed for admission. At the Conservatoire he studied vocal music, harmony, and composition. He has composed some pieces that have been published, the names of which, however, are not known to the writer. Mr. Macarty is especially distinguished as a vocalist: as a singer he is full of sentiment, and very impressive; is a fine pianist; and much admired, too, as an amateur actor. In the rôle of Antony, in the play of that name, by Alexandre Dumas, as well as in that of Buridan in "La Tour de Nesle," by the same author, Mr. Macarty has won high honors. He also has held several positions of trust under the State government.
Mr. F.C. Viccus is a gentleman of fine musical abilities, a performer on the violin, cornet, and even other instruments.
McDonald Repanti, before going to Mexico, became one of the most remarkable pianists of New Orleans. His trade in early life was that of a worker in marble; and being very fond of music, and desirous to study the piano, he used to work very hard at his trade during six months of the year, and then devote the other six to severe study of music, and practice on his favorite instrument. This he did under the instruction of his brother, Fierville Repanti, who was formerly a teacher of marked ability, and a composer of music. Fierville removed to Paris, where he died some years ago.
Maurice J.B. Doublet was born in New Orleans in the year 1831. In that city he takes rank with the best violinists, and is highly rated as a general musician. Modesty has kept him away from the public but too often, since he possesses powers that would cause him always to be the recipient of much applause from large and cultivated audiences. He studied under L. Gabici. Mr. Doublet, as a violinist, is most remarkable for the purity of the tones produced, and the faithfulness he exhibits in giving expression to the composer's thoughts. These qualities, which it seems were given him by nature, are also noticeable in all of his pupils. Mr. Doublet is also a composer, but is so modest as to hide from the general public all that he has done in that line.
Dennis Auguste was born in New Orleans in 1850, and is therefore twenty-seven years of age. Although so young, he is regarded as a fine musician. He grew to manhood in the family of Col. Félix Labatut, by whom and his wife Dennis was treated as a son. Mr. and Mrs. Labatut, who were a noble and high-minded couple, of well-known liberal ideas, spared no pains to give their charge a thorough education. Teachers were employed to instruct him in many branches of learning. Mr. Ludger Boquille, a colored gentleman, became his teacher in French; Prof. Richard Lambert gave the youth his first lessons in music and on the piano; Prof. Rolling, a well-known artist, directed him in the same studies afterward; while in vocal music, harmony, and composition, he became proficient under Mr. Eugène Prévost. Mr. Auguste has proved himself worthy of the care that was given to his training by his Christian-like guardians and faithful teachers. As a performer he is held in high esteem, and is often employed by the best families of both races in his native city.
Henry Corbin, for several years a resident in New Orleans, was born in Cincinnati, O., in the year 1845. He learned the violin under a German teacher and under Professor Bonnivard. He has played as an amateur on many occasions at concerts, and always with marked acceptance to his audiences. Mr. Corbin's musical achievements are very fine, considering the great amount of time he has given to employments connected with state and city government. He was at one time private secretary to Gov. Pinchback; at another, secretary of the Board of Directors of the Public Schools of New Orleans; and is now tax-collector for the Sixth District in that city.
J.M. Doublet is only eighteen years of age, but is considered already a violinist of excellent ability. He has studied music under the direction of his father, J.B.M. Doublet.
Adolphe Liantaud is one of the best performers on the cornet in New Orleans: indeed, for purity and smoothness of tone, as well as power, he is regarded as most remarkable.
Mr. Henry Berrot is considered an excellent player on the contra-bass, although beginning its practice only a few years ago, and at an age when most persons would despair of acquiring a knowledge of that or any other instrument.
Mrs. P. Casnave is a brilliant pianist.
Miss Macarty has on several occasions appeared at public concerts, and has always been received with marked favor. She is quite studious, and renders difficult and classical compositions for the piano in a most creditable manner.
As may be readily supposed of a community like that of New Orleans, where there is a large colored population composed of so many people of culture, the gentler sex are only behind the other, in possessing a knowledge of music, to that extent which has been caused by those unreasonable, unwritten, yet inexorable rules of society, that have hitherto forbidden women to do more than learn to perform upon the piano-forte and guitar, and to sing. But among the ladies of New Orleans there are many who may be called excellent pianists, and those who, possessing good voices, sing the choicest music of the day with a fine degree of taste and expression. Most of these (only a few of them are performers in public), by their musical culture, and the possession of those general graces of a beautiful womanhood,—graces the possession of which
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"Show us how divine a thing A woman may become,"— |
add to the adornments and refining pleasures of many private circles, and thus keep pace with their male relatives and friends in demonstrating the intellectual equality of their race. It would, however, take up far too much of space to here present a larger number of the names of these accomplished ladies than has already been given; and it is therefore hoped that the latter,—fair representatives of many others that might be given,—and the general mention just made, may suffice.
Returning to the other sex, I first refer to Constantin Deberque, who is a musician of fine ability, a teacher of great skill, and a gentleman of good general culture. Mr. Deberque will again be mentioned on a succeeding page.
Dr. E. Dubuclet is a finished violinist. He is a brother of Dr. Dubuclet, heretofore mentioned as having removed to Bordeaux, France.
The Dupré family are remarkable for their excellent musical qualities. Each of the brothers, Ciel, Lucien, and Esebe, play upon several instruments; while their two sisters are also well versed in music.
Mr. Raymond Auguste, as a cornetist, is quite noticeable for the purity, strength, and fine expression of the tones he produces.
Eugène Convertie is a classical student; wins golden opinions for his piano performances; and has been highly esteemed as a teacher of that instrument. He is now succeeding as a dry-goods merchant in New Orleans.
Mr. Kelly, band-director, is very effective as a performer on the cornet.
Mr. Émile Ricard is regarded as a good pianist and teacher.
Joseph A. Moret is a violin-player, to whom all listen with pleasure. He was first a pupil under Professor Snaer, and afterwards studied under Professor Bonnivard. Mr. Moret, having been instructed by such good teachers, possessing much natural talent, and being withal so young, has before him a brilliant future.
Joseph Mansion is an amateur violinist, and a gentleman of much intelligence. He was formerly a member of the Louisiana House of Representatives, and is now State-tax assessor.
Joseph Bazanac was an excellent performer on the flute and bassoon, and a teacher of music. He was, besides, acknowledged as a skilful instructor in the French and English languages. He died a few months ago.
Charles Martinez, who died in 1874, was most remarkable for proficiency in performance upon a great number of instruments,—being an artistic guitarist and violinist, a player upon the contra-bass,—and was also a good singer. Being of an ambitious turn of mind, Mr. Martinez studied, without a teacher, to become a notary-public, and was appointed as such.
Professor Thomas Martin was at a time one of the first musicians of New Orleans and of Louisiana, being without an equal as a guitarist, was a great performer on the violin and piano-forte, and played even other instruments. He was also a fine vocalist, a ready and good composer, and was much celebrated for abilities in teaching music. A fine-looking man, very agreeable and gentlemanly in his manners, Professor Martin soon won his way against all obstacles, and became the favorite musical instructor not only of those of his own race, but also of many persons connected with the most aristocratic white families of New Orleans and its vicinity. This once talented musician is now no more; he having died some years ago in Europe, as I am informed.
Octave Piron was once very prominent as an excellent vocalist and guitarist. He devotes his attention now more to the contra-bass, upon which instrument he is regarded as a good performer.
J.M. Holland is a young man who gives much promise of becoming an excellent pianist.
And thus I might go on and on, mentioning name after name, and achievement after achievement; but warned by the great number of pages already devoted to these praiseworthy musical people of New Orleans, and believing that enough has been presented to serve the object had in view when these notices were begun, I will shortly close this record.
As a sample of the concerts frequently given in New Orleans by amateur musicians of the colored race, I append this programme of one lately given:—
Grand Concert program
| 1. OVERTURE.—"La Muette de Portici" | Orchestra. |
| 2. THE FAVORITE.—"Prière."—Donizetti | Miss Mc——. |
| 3. LE BOHÉMIEN.—Samuel Snaer[19] | Mr. O.P. |
| 4. SYMPHONY.—For Two Violins and Piano, | L.M., J.M., and Miss A.F. |
| 5. MY SUNDAY DRESS.—Song | Jos. L., Jun. |
| 6. OVERTURE.—"Sémiramis" | Orchestra. |
| 7. JUDITH.—Concone | Miss R.F. |
| 8. THE ENCHANTRESS.—Fantasie for Violin | L.M. |
| 9. L'EXTASE.—Valse brillante.—L'Arditi | Miss F. |
| 10. FORTUNIO'S SONG.—"Alsacian Dream" | Jos. L., Jun. |
| 11. OVERTURE.—"La Dame Blanche" | Orchestra. |
| 12. CONSTANTINOPLE.—A. Loyd | Miss R.F. |
| 13. UNE DRÔLE DE SOIRÉE.—Scène Humoristique, | J.A. Collin. |
Miss A.F. will preside at the Piano.
The Orchestra under direction of Mr. Louis Martin.
DOORS OPEN AT 6.——CONCERT TO BEGIN AT 7 PRECISELY.
From the notes of a musical critic of New Orleans I learn that this concert was in all respects a fine success. The different overtures were well executed by an ensemble of twenty instrumentalists, all colored men; while all the numbers on the programme were rendered, generally, in a manner that would have been creditable, even had the performers been, as they were not, professionals.
The audience was a large and brilliant one, composed of members of both races, and was quite demonstrative in the bestowment of applause and in floral offerings. As at first remarked, concerts like the one just described are frequently given in New Orleans.
New Orleans has several fine brass bands among its colored population. "Kelly's Band" and the "St. Bernard Brass Band" deserve particular mention here. The "St. Bernard" is composed of a very intelligent class of young men, studious, and of excellent moral character; in fact, they form a splendid corps of musicians, equalled by but few others, and excelled by none. With these two bands and some others, the names of which I have not now at hand, the people of New Orleans are always well supplied with the best of martial music.
Before the late war, the city had an association of colored men called the "Philharmonic Society." Several liberal-minded native and foreign gentlemen of the other race were always glad to come and play with the "Philharmonics" overtures and other music of a classical character. This was really a scholarly body of musicians, with whom the very best artists of any race might well be proud to associate. Constantin Deberque and Richard Lambert were among those, who at times directed the orchestra. Eugène Rudanez, Camille Camp, Adolph Angelaine, T. Delassize, Lucien and Victor Pessou, J.A. Bazanac, Charles Martinez, and over one hundred other amateur musicians, added a lustre to the good name of the colored men of New Orleans, even during the gloomy days of oppression. These men with all their souls loved music and the drama; but were kept away from the grand opera, from concerts and theatrical performances, because they would not submit to the degradation of sitting in a marked place designated "for colored persons." Nevertheless, they were not to be deterred from following that bent of their minds which a love of art directed; and so, thrown entirely upon their own resources, these high-minded men formed the "Philharmonic Society" and other musical associations, finding in the same much to compensate them for what they lost by being debarred from entering those circles of culture and amusement, the conditions of entrance to which were, not a love of and proficiency in art, but that ignoble and foolish one, the mere possession of a white face.
And thus has been briefly and (as the writer fears) imperfectly told the story of these highly musical people of New Orleans. Bearing in mind the great and manifold difficulties against which they ever had to struggle,—not only such difficulties as all must encounter who study the science of music, but also those far, far greater ones that are caused by color-prejudice, the extent of whose terrible, blighting power none can ever imagine that do not actually meet it,—bearing in mind, I say, all these obstacles, and their triumphs over the same, it will be seen that much has been accomplished that may be considered really wonderful. As better opportunities for culture, and that fulness of recognition and appreciation without which even genius must languish and in many cases die,—as these come to them, as come they surely will in this new era of freedom,—then will such earnest votaries as have here been mentioned, with
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"No fears to beat away, no strife to heal, The past unsighed for, and the future sure,"— |
attain to even greater degrees of proficiency and eminence in that noble art of which Pope thus beautifully sings:—
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"By Music, minds an equal temper know, Nor swell too high, nor sink too low. If in the breast tumultuous joys arise, Music her soft, assuasive voice applies, Or, when the soul is pressed with cares, Exalts her in enlivening airs; Warriors she fires with animated sounds; Pours balm into the bleeding lover's wounds; Melancholy lifts her head; Morpheus rouses from his bed; Sloth unfolds her arms, and wakes; Listening Envy drops her snakes; Intestine war no more our passions wage; And giddy factions bear away their rage.... Music the fiercest grief can charm, And Fate's severest rage disarm; Music can soften pain to ease, And make despair and madness please; Our joys below it can improve, And antedate the bliss above." |
It is deemed necessary to offer a few words of explanation touching the music printed on the following pages.
The collection is given in order to complete the author's purpose, which is not only to show the proficiency of the subjects of the foregoing sketches as interpreters of the music of others, but, further, to illustrate the ability of quite a number of them (and, relatively, that of their race) to originate and scientifically arrange good music.
For want of space, only a few selections have been made from the many compositions in the writer's possession; and, for the same reason, only parts of several works, somewhat elaborate in character, have been given; the latter curtailment having been made in the cases of the following: "The Pilgrim" (a grand overture, originally occupying about twenty pages, sheet-music size), only one-third of which appears in this collection; of an elegant arrangement of the air of "Au Clair de la Lune" (containing Introduction, Theme, First, Second, and Third Variations, and Finale), only the "Theme" and Third Variation are given; of the Parisian Waltzes (a set of five), only the introduction, coda, and Waltz No. 3 are given; of "Les Clochettes,"—fantaisie mazurka,—only a part appears; and so of "La Capricieuse;" while, of the "Mass," only two movements appear, the "Gloria" and "Agnus Dei." The attention of all who shall examine the music is particularly called to the above statements, in order that there may be no surprises, and no injustice done the composers.
In two instances only have very long compositions been reprinted in full. The first (the "Anthem for Christmas") is so given as a mark of respect to the memory of a pioneer musician, now deceased; and the second ("Scenes of Youth"), because a different treatment would seriously interrupt a continuous description which has been so vividly given by a young and talented composer.
The author of "Welcome to the Era March" is less than eighteen years old. The author of "Rays of Hope" has just attained to his majority.
But none of the foregoing statements are made as excuses; nor, on the other hand, is there any intention on the writer's part to present them in a boasting way. The collection of music is submitted to the candid consideration of all music-loving people, with the hope that it may add to their enjoyment, and help to serve the purposes for which this book was prepared.
| PAGE | |
| Anthem for Christmas (William Brady) | 4 |
| Welcome to the Era March (Jacob Sawyer) | 22 |
| Andante (Guitar) (Justin Holland) | 26 |
| The Pilgrim (Overture) (J.T. Douglass) | 30 |
| Parisian Waltzes (H.F. Williams) | 44 |
| Le Serment de L'Arabe (Dramatic Chant) (Edmund Dédé) | 53 |
| La Capricieuse Waltz (Basil Barès) | 60 |
| Au Clair de la Lune (Lucien Lambert) | 69 |
| Lauriett (Ballad) (H.F. Williams) | 81 |
| Les Clochettes (Fantaisie Mazurka) (Sidney Lambert) | 86 |
| Rays of Hope March (W.F. Craig) | 96 |
| Scenes of Youth (Descriptive) (F.E. Lewis) | 101 |
| Mass for Three Voices ("Gloria" and "Agnus Dei") (S. Snaer) | 127 |
Composed and Arranged by WM. BRADY. N.Y. 1851.
Anthem music
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There were Shepherds abiding in the fields, Keeping watch over their flocks by night, And so the angel of the Lord came upon them, and the glory of the Lord shone round about them, And they were sore afraid, and the angel said unto them, Fear not, for behold I bring you glad tidings, Glad tidings of great joy, glad tidings of joy, tidings of joy, glad tidings of joy, glad tidings, glad tidings, glad tidings, glad tidings. Fear not, fear not for behold, I bring you glad tidings, glad tidings of joy, glad tidings of joy, glad tidings of joy, Which shall be to all people, For unto you is born this day in the city of David a Saviour, a Saviour, who is Christ the Lord, who is Christ the Lord, who is Christ the Lord, Fear not, fear not for behold, I bring you glad tidings, glad tidings of joy, glad tidings of joy, glad tidings of joy, glad tidings, glad tidings, glad tidings of joy. And suddenly, There was with the angel, a multitude, of the heavenly host, Praising God, and saying, Glory, Glory, Glory to God in the highest, Glory, Glory, Glory to God in the highest, Glory to God, Glory to God, Glory to God in the highest, Glory to God, Glory to God, Glory to God in the highest and peace on earth, good will towards men, and peace on earth, good will towards men, good will, good will, good will towards men. Glory to God, Glory to God, Glory to God in the highest and peace on earth, good will towards men. And peace on earth, good will towards men, and peace on earth, good will towards men, good will, good will, good will towards men, good will, good will, good will towards men, and peace on earth good will towards men, and peace on earth. |
To Miss Florinda J. Ruffin, Boston.
J. SAWYER.
Welcome to the Era music
Copyright, 1877 by John F. Perry, & Co. Used by per.
For the Guitar, by JUSTIN HOLLAND.
Andante music
Composed by JOHN T. DOUGLASS.
The Pilgrim music
Composed by H.F. WILLIAMS.
Parisian Waltzes music
Copyright, 1867 by Oliver Ditson, & Co. Used by permission.
Paroles de A. DEMARTON. Musique d'Em. DÉDÉ.
Le Serment de l'Arabe music
Transcriber's Note: Spelling errors in the lyrics have been corrected.
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Un jour il m'en souvient, mon père sous sa tente Me fit sur l'Alcoran jurer mort aux Lions Puis ayant sur mon front posé sa main sanglante, Son âme s'envola vers d'autres régions Au jour-d'hui que mon bras peut manier une arme, Que ma haine a grandi comme a grandi l'enfant; Lors qu'un rugissement au Douar met l'alarme, Heureux je pars alors sous le soleil brûlant! Est-il parles houris, de notre saint Prophète, Par Allah tout puissant maître de l'univers; Est-il plus nobles jeux, est-il plus belle fête, Qu'une chasse aux Lions, dans nos vastes déserts? |
BASILE BARÈS. Op. 7.
La Capricieuse music
Copyright, 1869, by A.E. Blackmar. Used by permission.
LUCIEN LAMBERT. Op. 30.
Au Clair de la Lune music
Respectfully Dedicated to Mrs. Amelia Nahar.
Composed by H.F. WILLIAMS. 1840.
Lauriett music
Copyright by O. Ditson & Co. Used by permission.
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1. Lauriett! Ah! my dearest, I will often think of thee, When far, far away o'er the deep and gloomy sea; Lauriett, thou'lt ne'er forget the happy morn when first we met, When I saw and lov'd thee dearly; My charming Lauriett, When I saw and lov'd sincerely, My charming Lauriett. But thou, thou wilt ne'er forget me, Ah no, thou wilt not forsake me, For thee, my love, my life, my dearest, I ne'er will forget. 2. Fare thee well: Ah! my dearest, Wilt thou often think of me, When I'm far from my home, yes, my love, when far from thee; Lauriett, Ah! canst thou tell the grief that in my heart doth dwell, For my love, we soon must sever; But say, love, ere we part, Wilt thou be mine forever? Are we but one in heart? Once more my love wilt thou embrace me, For hark! the signal calls to duty, I must away my love, and leave thee, Fare well, fare thee well. |
SYDNEY LAMBERT. Op. 9.
Les Clochettes music
Alphonse Leduc. Paris.
Composed by WALTER F. CRAIG. Op. 1.
Rays of Hope music
By F.E. LEWIS, Op. 3.
Scenes of Youth music
By SAMUEL SNAER, New Orleans.
Mass music
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Gloria, gloria in excelsis Deo, gloria, gloria in excelsis Deo. Et in terra pax hominibus, Et in terra pax hominibus, bonæ voluntatis, Laudamus te, laudamus te, benedicimus te, Adoramus te, Adoramus te, glorificamus te. Gratias agimus tibi, gratias agimus tibi propter magnam gloriam tuam, Domine Deus rex cœlestis Deus pater omnipotens. Domine fili unigenite, Jesu Christe, Jesu, Jesu Christe Domine Deus, Agnus Dei filius patris, Agnus Dei filius patris. Qui tollis, qui tollis peccata mundi miserere, miserere, miserere nobis. Qui tollis, qui tollis peccata mundi, miserere, miserere nobis. Qui tollis, qui tollis peccata mundi, suscipe, suscipe deprecationem nostram. Quoniam tu solus, sanctus tu solus Dominus, tu solus altissimus Jesu Christe. Cum sancto spiritu, cum sancto spiritu in gloria Dei patris. Amen, amen, amen, amen, amen, amen, amen, amen, amen, amen, amen, amen, Amen, amen, amen, Amen. |
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Agnus Dei qui tollis peccata mundi, qui tollis peccata mundi. Miserere nobis, miserere nobis, miserere, miserere nobis. Agnus Dei qui tollis peccata mundi, qui tollis, qui tollis peccata mundi. Miserere, miserere, miserere nobis, miserere, miserere, miserere nobis. Agnus Dei. Agnus Dei, qui tollis peccata mundi. Dona nobis, dona nobis, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem, dona nobis pacem. |
[1] Hooker.
[2] Bertini.
[3] Reference is supposed to be made to this in the Book of Job, in these words: "When the morning stars sang together, and all the sons of God shouted for joy."
[4] For an able criticism of the composers and some of the performers mentioned, the reader is referred to Professor Ritter's very valuable History of Music, in two volumes.
[5] In the Library of Entertaining Knowledge, vol. iii. p. 76.
[6] Anonymously contributed to the Boston Folio for May, 1877.
[7] It would, perhaps, be better at present to except those of Wagner, upon the surpassing merits of which the best critics are as yet divided.
[8] It should also be here remarked, that there has been, too, a remarkable improvement made in the construction of most all musical instruments; they having been brought to a nicety and beauty of form and tone probably not dreamed of by the makers of the past.
[9] The church-bells of the city were also employed in rendering some of the music.
[10] From a writer in the New-York Herald.