III.
NEW ORLEANS.
THE MUSICAL AND GENERAL CULTURE OF ITS
COLORED CITIZENS.
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"Though last, not least." Shakspeare. |
BEFORE the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris—which has ever been to its enamoured citizens not only all France, but all the world—became for France the centre.
Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtly ménestrels, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas,—first to Canada, and then to Louisiana,—the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French "Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, together with certain forms of divine worship observed by a large number of them,—all this served for a long time to remind one of the magnificent capital of France.
The opera, with its ravishing music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors,—all so well calculated to charm a people of luxurious tastes,—has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there: such persons, pursuing their studies, not with a pecuniary view (being in easy circumstances), but simply from a love of music, have ever found congenial association in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate circumstances to seek support in discoursing it to others,—these have always found ready and substantial recognition in this music-loving city.
But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others? Strange to say, it does. Natural lovers of the "art divine," and naturally capable of musical expression,—they too, although with far less of advantages for culture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago "The New-Orleans Picayune" testified to their superior taste for and appreciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties of abject servitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, were allowed to acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions; many of their sons and daughters attaining to a surpassing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman.
Again: there was another portion of this same race, who, in the circumstances of their situation, were far less fortunate than even those of whom I have just been speaking: I mean those who were directly under the "iron heel of oppression." Nevertheless, many of these were so moved by a spirit of art-love, and were so ardent and determined, as to have acquired a scientific knowledge of music, and to have even excelled, strange to say, in its creation and performance, in spite of all difficulties. As to just how a thing so remarkable, nay, I may say wonderful, was accomplished, would form many a story of most intense and romantic interest. But with present limits I may not narrate the many instances of heroic struggle against the foul spirit of caste prejudice, and the many noble triumphs over the same, that belong to the lives of nearly if not quite all of the artists of whom I shall presently briefly speak.
And here it is utterly impossible to resist the depressing effects of that deep feeling of gloom which settles upon one as thoughts like the following crowd into the mind. How much, how very much, has been lost to art in this country through that fell spirit which for more than two hundred years has animated the majority of its people against a struggling and an unoffending minority,—a spirit which ever sought to crush out talent, to quench the sacred fire of genius, and to crowd down all noble aspirations, whenever these evidences of a high manhood were shown by those whose skins were black! Ah! we may never know how much of grandeur of achievement, the results of which the country might now be enjoying, had not those restless, aspiring minds been fettered by all that was the echo of a terrible voice, which, putting to an ignoble use the holy words of Divinity, cried up and down the land unceasingly, "Hitherto shalt thou come, but no farther!" For to judge as to what "might have been," and what yet may be, despite the cruelties of the past (since, even in this instance, "the best prophet of the future is the past"), we have only to look at what is. But from those bitter days of a barbarous time, when hearts were oft bowed in anguish, when tears of blood were wept, and when often attempts were made to dwarf yearning intellect to a beastly level,—let us turn quickly our weeping eyes from those terrible days, now gone, we hope never again to return, towards that brighter prospect which opens before our delighted vision: let us joyfully look upon what is, and think of what may be. For
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"The world is cold to him who pleads; The world bows low to knightly deeds." |
Returning, then, directly to the subject in hand (viz., the colored musical artists of New Orleans), I first quote from a paper prepared by a cultured gentleman of that city, himself a fine musician, the following retrospective comment on some of the former residents there:—
"For want of avenues in which to work their way in life, and for many reasons which are easily understood, our best artists [colored] removed to other countries in search of their rights, and of proper channels in which to achieve success in the world. Among these were Eugène Warburg, since distinguished in Italy as a sculptor; Victor Séjour, in Paris, as a poet, and composer of tragedy; Caraby, in France, as a lawyer; Dubuclet, in Bordeaux, as a physician and musician; and many others." All these were forced to leave New Orleans, their native city, because of the prejudice that prevailed against them on account of their color. In other countries, which Americans have been wont to style, forsooth, "despotic," these aspiring men found ready recognition, and arose, as has been seen, to high distinction in their chosen callings.
Of a few others who for these same reasons left their native city and went abroad, as well as of a large number of talented, educated musical people who remained in New Orleans, I shall now speak.
The Lambert family, consisting of seven persons, presents the remarkable instance of each of its members possessing great musical talent, supplemented by most careful cultivation.
Richard Lambert, the father, has long been highly esteemed as a teacher of music. Many of his pupils have attained to a fine degree of proficiency as performers of music, and some of them are to-day composers.
Lucien Lambert, very early in life, attracted attention by his ardent devotion to the study of music. He used to give six hours of each day to practice, and became a pianist of rare ability. With a style of performance really exquisite, he has always excited the admiration, and sometimes the wonder, of his auditors, by easy triumphs over all piano difficulties. But his genius and ambition were such, that mere performance of the music of others did not long satisfy him. He became a composer of great merit. A man of high soul, he also, ere long, grew restive under the restraints, that, on account of his complexion, were thrown around him in New Orleans. He longed to breathe the air of a free country, where he might have an equal chance with all others to develop his powers: and so, after a while, he went to France; and, continuing his studies in Paris under the best masters of the art, he rapidly attained to great skill in performance and in composition. He finally went to Brazil, where he now resides, being engaged in the manufacture of pianos. He is about fifty years of age, a gentleman of imposing appearance. Lucien Lambert has written much music. Below is given the titles of only a very small number of his compositions:—
"La Juive;" "Le Départ du Conscrit" (fantasie march); "Les Ombres Aimées;" "La Brésiliana;" "Paris Vienne;" "Le Niagara;" "[Au Clair de la Lune]," with variations; "Ah! vous disais-je, Maman;" "L'Américaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches et Clochettes;" "Étude Mazurka."[18]
Sidney Lambert, stimulated by the instruction and good fame of his father and the high reputation gained by his brother Lucien, and himself possessing rich natural powers, soon became conspicuous for brilliant execution on the piano-forte, and as a composer of music for that and other instruments. He has also written a method for the piano, the merits of which are such as to cause him to be lately decorated for the same by the King of Portugal. He is now a professor of music in Paris, France. Here is a partial list of pieces composed and arranged by him:—
"Si j'étais Roi;" "Murmures du Soir;" "L'Africaine;" "Anna Bolena;" "La Sonnambula;" "L'Élisire;" "Transports Joyeux;" "[Les Cloches]."
Mr. E. Lambert is the very efficient leader and instructor of the St. Bernard Brass Band. He is a line musician, performing with much skill on several instruments.
John Lambert, only sixteen years of age, is already regarded as an excellent musical artist. He was educated in St. Joseph School, New Orleans. He seems almost a master of his principal instrument, the cornet, playing with ease the most difficult music written for the same. He is a member of the St. Bernard Band,—a very valuable member too, since he can play a variety of instruments.
The two Misses Lambert are accomplished pianists. One of them is an excellent teacher.
Edmund Dédé was born in New Orleans in the year 1829. He learned first the clarinet, and became a good player. He afterwards took up the violin for study, under the direction of C. Deburque, a colored gentleman. After a while he took lessons of Mr. L. Gabici, who was at one time chief of the orchestra of the St. Charles Theatre. Dédé was a cigar-maker by trade. Being of very good habits, and economical, he accumulated enough money after a while to pay for a passage to France, where, on his arrival in 1857, he received a welcome worthy of a great people and of so fine an artist. He is very popular, not only as a violinist, but as a man, being of fine appearance, of amiable disposition, and very polite and agreeable in his manners. While a student in New Orleans, many were they who seemed never to grow tired in listening to his peculiarly fine playing of the studies of Kreutzer and the "Seventh Air Varié de Beriot." He is considered alike remarkable in his perfect making of the staccato and the legato; is very ardent in his play, throwing his whole soul into it; and meets with no difficulties that he does not easily overcome. Mr. Dédé is now director of the orchestra of "L'Alcazar," in Bordeaux, France. He is of unmixed negro blood, and is married to a beautiful and accomplished French lady.
The titles of only a very few of the works composed by Edmund Dédé can now be given. They are as follows: "[Le Sement de l'Arabe]," "Vaillant Belle Rose Quadrille" (this it was called originally; but I believe the piece has been published under another name), "Le Palmier Overture."
Basile Barès was born in New Orleans Jan. 2, 1846, and is what may be called a self-made man. He to-day enjoys a fine reputation as a pianist and composer. His studies on the piano were begun under Eugène Prévost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Barès studied harmony and composition under Master Pedigram. In 1867 he visited the Paris Exposition, at which he remained four months, giving many performances upon the piano-forte. Mr. Barès resides in New Orleans. I append this partial list of his works: "[La Capricieuse Valse]," "Delphine Valse Brillante," "Les Variétés du Carnaval," "Les Violettes Valse," "La Créole" (march), "Élodia" (polka mazurka), "Merry Fifty Lancers," "Basile's Galop," "Les Cents Gardes" (valse), and "Minuit Polka de Salon."
Professor Samuel Snaer, a native of New Orleans, is in his forty-fourth year, and is a musician of remarkably fine powers. He is a brilliant pianist, and a most skilful performer on the violin and violoncello. As a violoncellist he has but few equals anywhere. He is an esteemed teacher of violin and piano, and is organist at St. Mary's (Catholic) Church.
But Professor Snaer's musical abilities do not end with the accomplishments just mentioned. He is, besides, a ready composer, and has produced much music of a varied and very meritorious character. Extreme modesty, however, has prevented him from publishing many of his pieces. Generally his habit has been to sit down and compose a piece, and then allow the manuscript to go the rounds among his acquaintances. As he would make no request for its return, nor express solicitude regarding its fate, the music rarely returned to the composer; so that to-day the most unlikely place to find copies of his works is at the professor's own residence.
Professor Snaer has a memory of most wonderful power. When he was eighteen years old (that was twenty-six years ago), he composed his "Sous sa Fenêtre." Without having seen this music for many years, he can to-day write it out note for note. He remembers equally well each one of his many compositions, some of which have been of an elaborate and difficult character. He has lately rewritten from memory, for a gentleman in Boston, a great solemn mass which he composed several years ago. Those who are familiar with the original draught of this mass say that the present one is its exact counterpart.
The following comprises in part a list of the works of Professor Snaer:—
"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:—
