THE LATE JOSEPH JEFFERSON

In the death of Joseph Jefferson the theatrical profession loses the most renowned, the most respected, the most highly esteemed and perhaps the most skillful actor that has played upon the American stage for a great number of years. The chief characteristics of this man’s career points to his simplicity of home life and his ideals, with a view to dignifying his profession in the eyes of the public. It may be that the day of great actors has faded away into the past and that we may never have another who will interpret the vital literature of the past so admirably and with such technique and vividness as did Joseph Jefferson. Where is the man or woman who pretends to know anything about the history of the American stage who is not familiar with Joseph Jefferson in the role of Rip Van Winkle, and what school boy or school girl has not read Washington Irving’s magnificent production in the course of his or her daily studies. The manner in which Joseph Jefferson delineated the character of a vagabond, who was simplicity itself and the pathos of whose life is a tradition in our history, and at once places him in the front rank of the finest and best artists of his day and generation. There was a charm in the portrayal of Rip that never failed to hold the attention of theatregoers wherever exhibited. In the truest sense Joseph Jefferson was an adornment to his profession, and the sweet and delightful memory of his activities will be cherished by generations yet unborn.

In the recent death of Mr. Patrick J. Healy, head of the firm of Lyon & Healy of Chicago, Ill., removes from the musical world one of the most successful and widely known business men of this generation. He was a skilled, sympathetic, hard working business man and his unusual attainments were due to his rectitude, love and tolerance—splendid qualities of head and heart—as well as his incessant application to the business in which he was engaged. His honesty, integrity, faithfulness and splendid devotion to his friends and to all who came in contact with him either in a business or social way stamped him as a man of fine quality and a model for young men. As Mr. Haynes, head of the firm of Oliver Ditson company, says, in his splendid tribute: “His memory will be a blessed heritage to his friends and all with whom he has ever been associated.”

The collection of Negro Melodies recently issued by Oliver Ditson company, being transcriptions of Negro and African Folk Songs by Samuel Coleridge-Taylor, form a remarkable contribution to the Musicians’ Library, issued by this deservedly popular house, and the article concerning the work of Mr. Taylor which appears in this issue of Alexander’s Magazine contributed to The Musician by Dr. Booker T. Washington, principal of the Tuskegee Normal and Industrial Institute, is informing and helpful. It must be an exalted position to be rightly credited as the first great composer of a race, and such is the position of Mr. S. Coleridge-Taylor of London, England. His compositions are brilliant and carry with them evidence of scientific research and careful character delineations. The recent rendition of a number of these compositions by Mr. Samuel W. Jamieson of this city, in Steinert hall, evidences the fact that his work is extraordinary and ranks with the best classics of modern times. We reproduce from The Musician the splendid copyright portrait of Mr. S. Coleridge-Taylor by special written permission of the Oliver Ditson company.

CHARLES ALEXANDER