PROGRAMME.

Part First.

1. Quartet.—"Alpine Echoes." Miss Brown, Miss F. Washington, Mr. Janey, Mr. Fisher.
2. Piano Solo.—"Fantasia Impromptu" Mr. S. Jamieson.	Chopin
3. Solo.—"La Primavera" Miss Brown.	Torry
4. Duet.—"Vien Mio Edgardo" Miss F. Washington, Mr. Janey.	Millard
5. Aria.—"Infélice" Mr. Fisher.	"Ernani"
6. Duet.—"While thus around" Miss Brown, Mr. Janey.	"La Favorita"
7. Solo with Cello Obligato.—"Peacefully Slumber" Miss F. Washington.	Randegger
8. Song.—"Didst Thou but know" Mr. Janey.	Balfe

Part Second.

1. Quartet.—"Sweet and Low" Miss Brown, Miss Washington, Mr. Janey, Mr. Fisher.	Barnby
2. Piano Solo.—"Le Courrier" Mr. S. Jamieson.	Ritter
3. Song.—"Queen of the Night" Miss Brown.	Thomas
4. Song.—"To the Storm Wind" Mr. Fisher.	Evers
5. Duet.—"Land of the Swallows" Miss Brown, Miss Washington.	Massini
6. Solo.—For Violin. Mr. F.E. Lewis.
7. Song. Miss F. Washington.
8. Song.—"Love's Delight" Mr. B.J. Janey.	Abt
9. Duet.—"I Pescatori" Miss Brown, Mr. Fisher.	Gabusi
10. Quartet.—"What Phrase Sad and Soft" Miss Brown, Miss Washington, Mr. Janey, Mr. Fisher.	Bishop

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

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

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

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

The city of New York has some very excellent musicians.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Philadelphia has, of course, many fine musicians. The most prominent vocalists are Madam Brown, Mr. John Mills, and Mrs. Lucy Adger; and the most prominent instrumentalists are Miss M. Inez Cassey, pianist, F.J.R. Jones, violinist, and Edward Johnson, violinist.

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

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

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

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

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

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

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

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

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

Mr. Anderson died at Philadelphia in 1874.

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

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

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

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

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

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

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

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

Mr. Z.A. Coleman is a good singer of bass.

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

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

I.A.D. Mitchell, playing the E♭-cornet, is the very efficient leader of a band.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I think the chorus ran in this wise:—

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

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

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

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

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

CONCEALED MUSICAL TALENT.

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

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

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

W.P.W.

Cincinnati, July 7, 1875.

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

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

Another vocal society is called the Arion Quartet Club. Messrs. Andrew D. Hart and John Lewis are two of its members: the names of the others I have not learned.

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

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

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

Mr. D.W. Hamilton is the very popular leader of a string-orchestra.

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

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

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

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

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

Misses Ella Smith and Ella Buckner must not be forgotten as valuable aids on public musical occasions.

Among the males, James P. Ferguson is distinguished as a bass, and Thomas Monroe as a tenor singer.

Joseph Henson's voice always has in it music of an inspiring character.

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

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

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

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

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

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

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

Mrs. Charlotte M. Alexander, leading soprano of Bethel-Church choir, was educated at Cincinnati.

Mrs. Bessie Warwick, soprano and brilliant pianist, was formerly a pupil of Professor Baumback of Chicago.

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

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

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

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

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

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

Miss Ida Platt is a brilliant pianist.

Mr. Elias Perry is a young tenor-singer with a very pleasing voice. He is a member of Olivet-Church choir.

Mr. John F. Ransom, baritone and organist, is a musician of excellent culture, possessing one of the finest male voices in Chicago. He was educated at Columbus, O. Is organist of Olivet Church.

Mr. George W. Mead is leading basso of the singing society heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his music with correct and very pleasing expression. He has been favorably mentioned, in connection with others with whom he has performed, by the papers of Chicago.

All of the persons whose names are included in the list just closed read music at sight, and are entitled to be ranked as artists.