Professor J. Southern (Managing Editor-Publisher)
Black-Music Concerts in Carnegie Hall, 1912-1915 Author(s): Lester A. Walton, L. H. White, A. W. K. and Lucien H. White Source: The Black Perspective in Music, Vol. 6, No. 1 (Spring, 1978), pp. 71-88 Published by: Professor J. Southern (Managing Editor-Publisher) Stable URL: https://www.jstor.org/stable/1214304 Accessed: 22-02-2019 15:07 UTC
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BLACK-MUSIC CONCERTS IN CARNEGIE HALL, 1912-1915
W ArITH THE ORGANIZATION of the Clef Club in 1910, the history of black music in the city of New York entered upon a new era. The best performers in the city were drawn into the new organization founded by James Reese Europe (1881-1919), and several performance groups were set up, chief among them the Clef Club Orchestra. During the 1911-12 season white violinist David Mannes and other public-spirited citizens of New York established the Music School Settlement for Colored People, thereby making available for the first time in the history of the nation the opportunity for talent- ed black youngsters to obtain excellent musical training at nominal fees. It should be observed that New York already had a Music School Set- tlement for whites, which did not accept black students. During its first year the Music School Settlement for Colored com- bined forces with the Clef Club Orchestra to present a mammoth con- cert of black music in Carnegie Hall and continued the practice for the next three years, except that the Clef Club orchestra was replaced by other groups after the 1913 concert. These annual concerts attracted large numbers of music lovers, white and black, and provided occasions for black artists to come before the public, in addition to the school's student groups. David Irwin Martin (d. 1923) was director of the school for its first two years; J. Rosamond Johnson (1873-1954) took over the directorship in the fall of 1914 and remained at the helm until 1919. At the end of that year, the school was disbanded, as no director could be found to replace Johnson, and its activities were incorporated into those of Martin's music school, now called the Martin-Smith School for its founders, Martin and Helen Elise Smith (later Mrs. R. Nathaniel Dett). During the years of its annual concerts, the Music School Settle- ment for Colored called upon the talents of the leading black artists of the time; among them, Harry T. Burleigh (1866-1949), Will Marion Cook (1869-1944), Melville Charlton (1880-1973), Roland Hayes (1887- 1976), Marie Selika (1849-1937), and William H. Tyers (1876-1924). For the most part, the music performed was written by black compos- ers with particular attention given to Samuel Coleridge-Taylor.
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In the press items reprinted below no changes have been made in regard to punctuation; thus, in the articles from the white press the word negro is not capitalized, while the word is capitalized in the black- press articles. The press articles of the period point up the patronizing attitude of the whites and the somewhat defensive attitude of some blacks in regard to the performance of so-called Negro music. Because Will Marion Cook was one of the staunch defenders of Negro music, one of his many statements about the importance of black music is in- cluded among the press clippings presented herein. [Editor]
20 March 1912 one possessed of conspicuous musical The New York Times (p. 9) talent. So great was the promise he show- ed with the violin that rich patrons backed NEGRO PUT MANNES up his ambitions and sent him abroad to ON ROAD TO FAME study under the masters there, and as he
Famous Violinist Tells March became a violinist of power he became, too, a man of wide reading and a fluent Conference the Story of His Colored Teacher. speaker of French and German as well as of English. RACE BAN SPOILED HIS LIFE When he had finished his study he came back to America, hoping to find a bright Gratitude to a Disappointed Genius future in the music world of the North. Inspired Mannes's Musical But this hope was never realized, for, School for Negroes. though there was recognition of his ability among people who knew, the color)ine was "New York and the Colored People" drawn was to shut him out of fair opportuni- the general topic tor discussion yesterday ties. There was no room for him in a great at the March conference on the evils of symphony orchestra. There seemed to be pauperism held in the assembly hall of nothe place for him to pursue his career on United Charities Building, 106 East Twen- the level for which his taste and his educa- ty-second Street. Introduced only by tion his had prepared him. And, gifted and non-committal subject on the programme, accomplished though he was, he had to "My Colored Violin Teacher," David turn to the guitar and the banjo as the in- Mannes told the story of his first legitimate struments with which a negro could gain a musical instruction, of his first direction on hearing, and to play wherever he could for the right path of musical study, and .of what meager remuneration the field of- how, years later, he tried to pay his debt by fered. inaugurating the Musical School Settle- "And I know that when he died," said ment for Negroes, now advancing through Mr. Mannes, "he died of a broken heart." its first season with 150 pupils. One day, a broken and a disappointed Mr. Mannes, who is a brother-in-law of man, Douglas was walking along Twenty- Walter Damrosch, is the director of the seventh Street when he heard the strains of New York Music School Settlement, and a violin rising from the basement of one of the concert master of the New York Sym- the old brownstone houses there. phony Orchestra, but he was once a very "It is my son who is playing." was the poor boy, whose first handling of the violin proud reply of the woman there to the had been guided only by an itinerant question that Douglas stopped to ask., and, music teacher. It was then that he met going in, he found a boy of 13 or there- Charles Douglas, and the story he told abouts fiddling away for dear life' yesterday was the story of Charles Douglas. "You do not play badly," the negro said, Douglas was a negro lad in a Southern a little wistfully, as Mr. Mannes remembers town when he first attracted attention as it, for he was the boy with the violin.
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And out that meeting grew a friendship equal to the one paid by the United States. between the boy and the disappointed The financial problem is still a burning negro, who taught him the things question. he had The settlement is nesting now in learned abroad, and who read to him from other quarters, but it hopes for a home of Poe and from Tennyson, and helped to its own some days, a temple of music for shape his life. Mr. Mannes afterward the negroes of New York. studied under the masters in Europe, but it was the colored man playing the banjo for a living in New York who first started him 25 April 1912, in the right direction. The New York Age (p.5) That was thirty years ago, but it is to the memory of Douglas that Mr. Mannes has TO BE A BIG MUSICAL EVENT dedicated the Musical School Settlement for Negroes that is in progress in the quar-As will be seen by reference to the ad- ters of the Mary F. Walton Free Kinder- vertising columns of The Age, there is to garten on West Sixty-third Street, andbe a ingreat event for the colored people of the parish house of St. Phillip's on New 103d York on May 2, when a grand concert Street. will be given at Carnegie Hall under the Mr. Mannes, as he told his audience auspices and in aid of the recently formed yesterday, is one of those who believes Musicthat School Settlement for Colored music can be the great lever to raise thesePeople. This concert will be given ex- people, to whbm harmony is natural, clusivelyand by colored artists, who will sing who have made the only original contribu- and play compositions composed by tion to music that has come from America. colored musicians. Among the associations He was speaking ot ragtime, which he de-and individuals who have kindly volun- clared was by no means a joke. teered their services for this occasion are "The preservation, encouragement, andthe Clef Club Orchestra of 125 pieces, of development of the music of the negro, which James Reese Europe is conductor which is one of the most characteristic and Wm. H. Tyers is assistant conductor. musical expressions in this country," The andmere mention of this feature should the "educational appeal to the negro alone serve to fill Carnegie Hall. But, in through a peculiar talent, which is a dis- addition to the Clef Club, there will be a tinct racial", are the principal values of large chorus of 150 voices specially trained the school in the eyes of the Committee on for this occasion by Will Marion Cook and Organization, of which Mr. Mannes is who will sing plantation melodies and Chairman and Mrs. Percival Knauth, "spirituals" so dear to the heart of every Treasurer. colored person. Then, too, the fine choir "We should aim at the outset to develop of 40 men and boys of St. Philip's Church any distinctive and unique intent which will the be heard in compositions of its talent- colored people possess," said Dr. Felix ed conductor and organist, Paul C. Adler in behalf of the school when it was Bohlen, and in a cantata of Coleridge only a proposal. "They may have other Taylor, the most eminent composer of the gifts, but assuredly the musical gift is Negroone. race. The always popular baritone, Hence I see in this movement not merely Harry a T. Burleigh. will sing several songs. slight charity added to others, but a Thestep renowned J. Rosamond Johnson, who fully equal in importance to anything hasthat written music for the Williams and has ever been consciously undertaken Walker in combination, will play some of his the way of helping forward the negroes." characteristic piano solos, and the Versatile The Secretary and active head of the set-Entertainers' Quintet, probably the highest tlement is David Irwin Martin, a young salaried artists now before the public, will, negro, who told the audience all about by the the kindness of Bustanoby brothers, work yesterday. Mr. Mannes had been render some of the characteristic songs and looking for Martin for years. He found ragtime. him, a violinist, working as a letter carrier, The Music School Settlement for Colored and one of the problems was to find People has recently been incorporated un- enough money to provide him with a salary der the laws of the State of New York, with
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a board of directors consisting of whom the pay 25 cents a lesson, thus bearing following well known people: Elbridge about L.one-half of the cost. The school Adams, Mrs. Frances C. Barlow, the Rev. could easily have had 400 pupils, if it had Hutchins C. Bishop, Henry T. Burleigh, had funds to take care of them. It is Miss Natalie Curtis, Miss Dorothea Draper, hoped that the concert which is to be given Dr. W.E. Burghardt Du Bois, Mrs. Benj. on May 2 will result in adding to the Guiness, the Rev. Wm. P. Hayes, Mrs. treasury of the school a large sum of David Mannes, David Mannes, Mrs. W.H. money. If the colored people of New York McElroy, Winthrop L. Rogers, Mrs. respond, as we think they will, there will be Charles Sprague-Smith, Lyman Beecher no doubt about the success of this concert, Stowe, Frederick Strauss, Princess Pierre which is the first organized attempt so far Troubetzkoy, Miss Louis Veltin and Miss as I know, to show to the public of New Elizabeth Walton. York what the Negro race has done and Of these David Mannes is known to many can do in music." of our people as the founder of the school. Mr. Mannes is in this way endeavoring to repay the debt he owes to the colored race by reason of his own instruction on the 9 May 1912 violin from a colored man named The New York Age (p. 6) Douglass. Lyman Beecher Stowe is a MUSIC AND THE STAGE grandson of the famous authoress, Harriet Beecher Stowe. Miss Elizabeth Walton is Edited by the director of the Mary F. Walton Free Lester A. Walton Kindergarten for Colored Children on West 63rd street. CONCERT AT CARNEGIE HALL It is the aim of this association to own its own house, which will be made the social It has long been my wish that the local centre for the colored people of this city. colored'musicians appear in a concert at By appealing to the instinct of the colored one of the,leading music halls of the city race for music, it hopes to reach the hearts and give the white citizens an opportunity of the colored people. -to hear music written and played by Dr. Frissell, the principal of Hampton colored people. My aspirations in that Institute, who is very much interested in direction increased after hearing the first this work, says of it in a recent letter: "I concert given by the Clef Club at the Man- have a strong belief in the value of music hattan Casino, and it was not until Thurs- in uplifting a people, especially the day evening at Carnegie Hall was my wish negroes, and I believe that the Music gratified. The colored musicians made an School Settlement for Colored People will excellent showing, and many of their ad- be of great help, not only in getting the ne- mirers would have been sadly disappointed groes together, but in creating kindly had the affair been labeled other than a feelings towards them among the white success. people." At some time or another I have spoken in Elbridge L. Adams, who, as chairman of complimentary terms of the work of all the the organization committee, has been in- colored artists appearing on Thursday strumental in organizing the Music School evening's program, the Clef Club in parti- Settlement, interviewed by an Age repor- cular. Were I to comment on each num- ter, said: ber in detail I fear I would be charged with "The Music School Settlement for Colored repetition and lacking in originality. For People is a movement which I am sure will instance, I have been profuse in my praise appeal to a great many people in this city. of the enjoyable and artistic manner in We have been surprised to receive many which the Clef Club previously rendered contributions of money in advance of any the majority of selections used Thursday systematic appeal for funds. We do not evening. However, it behooves me before want this movement to be confined to the going further to confess that I spent most white race, but hope the colored people of of my time watching the white auditors, as New York will rally in its support. Already I was particularly anxious to know just the school has 150 pupils enrolled, most of what they thought of the concert.
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It is extremely unfortunate, as well aswas oft- forced to conclude that despite the ad- times inconvenient, that color prejudice, verse criticism of many who are unable to with its inconsistencies and unAmerican play it that syncopation is truly a native spirit (due in the main to a state of ignor- product-a style of music of which the ance relative to conditions), is running Negro is originator, but which is generally riotously rampant in this country. It is popular un- with all Americans. fortunate for those who are compelled Although to the Clef Club Orchestra of 125 battle daily against such unnecessary oddsmusicians, under the direction of James as well as for those who know about as Reese Europe, assisted by William H. much concerning the home life and Tyers, was the feature of the program, qualifications of our colored citizens as a there were other meritorious attractions. J. whole as they do of the Hottentot, de- Rosamond Johnson so pleased in his sing- spite the fact that both races live side by ing of "Li'l Gal" that he was compelled to side in this country. respond to an encore. Then there was the So when a golden opportunity is afford- Poinciana Quintet, consisting of Messrs. ed us to show that we are no different from Hilliard, Hawkes, Sutton, Jones and Foster, other human beings and that although wewhich scored a hit despite the fact that the possess strong racial characteristics the singers were first handicapped by opening same as other races still we are making with a number more suitable for a great strides in this great era of civilization rathskeller. "Dearest Memories" and "The and advancement, it is a source of great Bell of the Lighthouse" evoked hearty ap- pleasure to take advantage of such a chan- plause. ce as given Thursday evening at Carnegie A fine appearance was presented by the Hall. choir of St. Philip's Church, under Paul C. The concert was unique in many re- Bohlen. The choristers won favor in the spects. Some of the leading white citi- singing of Coleridge-Taylor's "By the zens sat in evening dress in seats next Waters to of Babylon" and "Benedictus," some of our highly respectable colored citi-from an original mass composed by Prof. zens, who were also in evening clothes. Bohlen. No color line was drawn in any part of theMrs. Elizabeth Payne was down on the house, both white and colored occupying program for two numbers-"Jean," by boxes. Carnegie Hall was packed to theHarry Burleigh, and "Suwanee River." doors with members of both races and She was pleasing in "Jean," but instead of hundreds were turned away. Yet no singing "Suwanee River" as billed, gave as calamity occurred because the colored cit- an encore "Mon Coeur s'Ouvre ta Voix," izens were not segregated in certain parts which did not show her at her best. of the house as some of our theatre mana- gers think it necessary to do, despite laws There was one number on the program forbidding discrimination. And it should well worth the price of admission-the not be overlooked that the whites present rendition of Will Marion Cook's "Swing represented the best element of their race; Along," by the Clef Club chorus, the mem- so did the colored people in attendance. bers singing and playing this delighttul Many white composers and writers do Negro melody. There was something in their best to disparage syncopated music, vigorating and inspiring in the manner commonly known as ragtime, and do their in which "Swing Along" was put on which utmost to show wherein this brand of music provoked applause. Three times did the does not even merit passing consideration. Clef Club musicians sing and play the Yet I noticed that not until the Clef Club number before the enthusiastic audience had played "Panama" did the audience was satisfied. Will Marion Cook rehears- evince more than ordinary interest. White ed the men in the song, and it was the hit men and women then looked at each other of the program. The artistic way in which and smiled, while one lady seated in a it was rendered bore out the statement of- prominent box began to beat time indus- ten made that classical music is not the triously with her right hand, which was only kind that requires preparation and in- covered with many costly gems. It was telligent interpretation. then that after a brief mental soliloquy IAnother number that struck the fancy of
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I
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the audience was "The Rain Song," tained, by but when one of the singers essayed Cook and Rogers, which was one of tothe sing hits an aria from Saint-Saens's "Samson of "Bandanna Land." The Cleftites et Dalila." sang of which she had not the and played this number in lively fashion,slightest conception, and of which her ac- with "Deacon" Johnson's Martinique companist Quar- knew even less, an emphatic tet leading the song. mistake of judgment was shown. The concert was given in the interest The concertof was given for the benefit of the Music School Settlement for Colored the Music School Settlement for colored People, of which David Mannes is the mov- people, which is fostered by David Mannes. ing spirit. Mr. Mannes is a sincere friend The Clef Club Orchestra, an ambitious or- of the Negro and believes that the race ganization is of 125 musicians, composed of going to make an enviable reputation mandolins, in banjos, 'cellos, violins, pianos the musical world. He is devoting time and a variety of other instruments, opened and money to further the project, and the it program with the "Clef Club" March, was mainly through his efforts that Carne- written by its director, J. R. Europe. A gie Hall was secured for Thursday selection by W. H. Tyers, an assistant con- evening's entertainment as well as the deep ductor, also received a spirited perform- interest manifested by the white citizens. ance. In looking over the list of directors of the The choir of St. Philip's Church sang settlement school 1 note that more than Coleridge-Taylor's "By the Waters of three-fourths of the members are white. Babylon," the "Benedictus" from a Mass To my mind it would be a capital idea ifwritten by its conductor, Paul Bohlen, and the board were composed of half white and other numbers. half colored at least, taking into considera- The Royal Ponciana Quartet, with J.R. tion that the institution is conducted for Johnson, pianist, and Elizabet Payne, con- colored people. tralto, assisting, was also heard. Applause Those who took part in the concert gave was generous throughout the evening. their services free, and the members of the Clef Club put in many hours in preparation for an event which should always occasion memories fond and plea- 20 February 1913 sant to those present. The New York Age (p. 6)
CONCERT AT CARNEGIE HALL 11 May 1912 (By L. H. WHITE) Musical America (p. 19)
NEGRO TALENT REVEALED Will Marion Cook's "Swing Along," a symphony of melody and motion rendered New York Concertgoers Treated byto the orchestra and male chorus of the Novel Entertainment Clef Club, was the feature of the concert of music composed and rendered exclusively That portion of New York concertgoers in by colored musicians, in commemoration search of novelty who journeyed to Carne- of the fiftieth anniversary of the Emanci- gie Hall on Thursday night of last week to pation Proclamation, under the auspices mingle with a large part of the colored and for the benefit of the Music School Set- population of the "San Juan Hill" district tlement for Colored People of the City of was treated to an interesting entertain- New York, at Carnegie Hall, Wednesday ment by a number of negro performers. evening, February 12. The program was not only given by ne- The program, consisting of old plantation groes but was made up entirely of the melodies, orchestral numbers and male works of negro composers and was perfor- choruses, was rendered by a mixed chorus med with that spirit of exuberance and of one hundred voices, with Adalma E. freedom of fancy that mark the natures of Jackson, leader, the Clef Club Orchestra of these natural-born musicians. In such 125 performers, with a unique variety of numbers as were designed to show them instruments, in and the male chorus of the their native vein, much success was at- Clef Club, with James Reese Europe and
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William H. Tyers as conductors. many of them disadvantaged and oppress- Three groups of plantation melodies ed, were could have as much. And this even- rendered by the mixed chorus, and ing'sthough performance marks, as it were, the the singing was marked by an absence culmination of of my wish. the devotional fervor which made these "Permit me, therefore, to sincerely thank songs expressive of the varying moods the of friends a who have made the Music downcast and oppressed people, the Schoolvoices Settlement for Negroes possible. To of the chorus blended beautifully say and that the Negro is a rhythmical musical brought out the rich harmonies of peoplethese but faintly states the case. Our own characteristic melodies. late lamented Dunbar said: The orchestral numbers were "Clef Club "Because I have loved so deeply, March," by Europe; "On Bended Knee," Because I have loved so long, by Henry T. Burleigh; "Silhouettes, Dan- God in His infinite kindness cing Shadows," and "Maori-Samoan Gave me the gift of song.' Dance," by Tyers; "Benefactors' March;" "The American Negro though cramped by Europe; "Tout a Vous," waltz, by Tyers; and poverty stricken always sang. Whether "West Virginia Dance," by Wm. H. in prosperity or adversity, whether in joy or Vodery; and "Deep River," by Samuel Col- in sorrow, he sang. There is no greater eridge-Taylor. Three numbers by Will treasury of real folk songs than are to be Marion Cook were sung by the male found among colored people of this coun- chorus, "Exhortation," with solo by Lloyd try. There are some fairly good collections Gibbs; "Rain Song," with solos by Wm. of the religious folk songs of the Negro Parquette, J.R. Jones, James Hunt, and collected by Fisk University, Hampton In- Frank Price; and "Swing Along." stitute and Calhoun School, but the secular The "Benefactors' March" was composed song of the race have scarcely been touch- especially for this concert and dedicated to ed. His game songs and love songs and the founders of the Settlement School. It is dance songs are still to be collected and written in Europe's well-known style, and classified, and I am very glad that Miss with an orchestra using a heavier brass sec- Natalie Curtis, who gave us the 'Indian tion will probably be more effective. The Book," is doing the same thing for the various numbers by the orchestra were Negroes. rendered with precision and accuracy, the "These songs are truly a priceless legacy. harmony being dominated by the in- Though the words are sometimes rude and struments ranging in the bass clef. the strains often wild, yet they are the out- In the intermission between the first and pourings of an ignorant and poverty- second parts, Major R.R. Moton, Com- stricken people whose religious longings mandant of Hampton Institute, made aand ideals struggled for expression and brief address on "Music." Major Moton found it through limited vocabularies and spoke as follows: primitive harmonies. They are not merely "A few years ago I was invited to the East poetry; they are more than poetry; they are 3d Street Music School Settlement. There life itself-the life of the human soul to my pleasure and satisfaction I found manifesting itself in rude words, wild children of varying ages and sizes busily strains, and curious though beautiful har- engaged and intensely interested in the monies. study of music. By invitation of Miss "I want to congratulate the committee in Crawford, the manager, I went back Sun- charge of the Music School that they have day morning where I saw Mr. David had the wisdom to use the colored artists in Mannes conduct an orchestra of I should New York, the magnificent Clef Club, in say fifty of these children. It seemed to theme furtherance of this splendid effort that then that I had never heard music that so we mutually represent to-night, and I want touched and enchanted me. The whole to congratulate the Clef Club that they settlement was to me most unique andhave so cordially and heart ly responded to most interesting, and while I did not in theany call of Mr. Adams and those who are sense wish for these children any less than working in co-operation with him. they were getting, I did from the depths "I of am glad that the people of New York my heart wish that the children of my race, are taking the Negro seriously in music.
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People are so apt not to take us seriously. 1 January 1914 It is so hard to disassociate him in the The New York Age (p. 6) minds of many people from the Jim Crow buffoonery role in which he is so often NEGRO MUSIC placed in literature as well as in drama. The Negro is serious and often when he (By LESTER A. WALTON) joyously sings, his heart is burdened withA movement is on foot to organize a sorrow and longings for the opportunities Negro Choral Society in Greater New York and privileges which he feels are his indue, connection with the Musical School Set- and I thank God for this movement. I do tlement for Colored People, and a deter- want to ask that the people of this city minedwill effort will be made by prominent heartily and generously respond to this white musicians to carry the project to a magnificent effort which is fraught with successful issue. Will Marion Cook and even greater possibilities than now appears, Harry Burleigh have been prevailed upon however hopeful the movement may be." to do pioneer work in getting the choral society together, and they have enthusias- tically entered upon their duties. On February 11 the choral society will make its 22 February 1913 initial appearance at Carnegie Hall. Musical America (p. 10) Every effort in the past to organize a EMANCIPATION CONCERT choral society in New York has been non- productive and futile. The reason advanc- Lincoln's Birthday Program of Negroed for this decided lack of interest in choral Music for School Settlement societies is that whenever you talk to the average colored person about Negro music Lincoln's birthday was celebrated at Car- he assumes that you want him to exclusi- negie Hall, New York, by the race which vely sing either ragtime or primitive spiri- owes its emancipation to the great "rail- tuals, better known as jubilee songs. The splitter," in the concert of negro music, erroneous impression seems to exist that to performed by negroes, for the benefit of give attention to Negro music you must the Music School Settlement for Colored necessarily stop singing the best things in People. The chief contributor to the pro- musical literature. gram was the Clef Club Orchestra, Willin Marion Cook, who has given years of which were mingled such unrelated studyin- to Negro music, says that it is dis- struments as seven pianos, an army of ban- couraging to note what little value colored jos, a score of mandolins, some of the Americansus- place on Negro music and ex- ual orchestra instruments and an organ. presses fear that members of the race will Behind these there was a chorus, chiefly not of wake up to the great possibilities our women. music and legends offer for development Contained in the program wereuntil white a number Americans publicly and unre- of traditional religious melodies servedly voiceand their some appreciation. recent compositions by negroes, "The Negro including writer and composer must James Reese Europe and William have the inspiration H. Ty- that can only come ers, who acted as conductors. Will Marion from the encouragement of his own Cook, Henry T. Burleigh and the late Col- People," is the opinion of Mr. Cook, who eridge-Taylor. Particularly interesting also declares that "inspiration must come were Cook's "Rain Song," with the suc- from within." When the Negro population cessive couplets sung by different members shall have awakened to the great beauty of of the orchestra, the singer continuing his its own legends, stories and melodies, then playing meanwhile; the same composer's it shall consider these a proud heritage to "Exhortation"; "Deep River," by Coleridge- be cherished and developed. Then and Taylor, and a West Virginia Dance" by only then will there come a school of Negro William H. Vodrey. Major Moton, of the writers and composers who will build from Hampton Institute, addressed the audience these simple stories and themes im- in behalf of the School Settlement. perishable works of art.
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Will Marion Cook further says: It "Thewould not be surprising if in the days to world concedes to the Negro abe musical America gained a high place in the voice and a sensitive ear for music. All musical world through Negro music. To- over the country there should be daychoral this country has little to exult over as a unions established for the study ofworthy the contributor to musical literature. works of the masters, for we can only When learn we attend the opera we sit and listen to understand and render what is goodto the ofworks of German, Italian or French our own studying and rendering the writers;best of and our most ambitious attempt to the masters." produce an American grand opera-"The Girl from the Golden West"-the music of The contention raised by Will Marion which was written by a foreigner, cannot Cook that colored Americans should be classed as an unquestioned success. evince a more appreciable interest Maybe David Mannes, Kurt Schindler in Negro legends and music is timely, and other white musicians of high stand- uncontradictable and a statement that ing possess the same perspective as Harry should occasion awakening Burleigh, Will Marion Cook and a few among a certain colored musici- other colored musicians, and sincerely be- ans. [These words are blotted out in lieve that some day Negro music will come the microfilm copies.] The modern tend- into its own and make agreeable history for ency among our people seems to be to the race for America.
get far away as possible from things char- 12 March 1914 acteristically Negro. To look and act like The New York Times (p. 3) white people appears to be the absorbing ambition of many. Ignorance, illiteracy, NEGROES GIVE A CONCERT coarseness and poverty are conditions, not racial characteristics, and must not be as- Symphony Orchestra and Folk Singers sociated with any particular race, and no in Compositions of Race one should be criticised for aspiring to pos- sess education, wealth and culture; for A concert of music composed and per- these things are not restricted to persons on formed by negroes was presented at Carne- account of the color of their skin. But in gie Hall last night under the auspices of the our rush pell-mell "to act just like white Music School Settlement for Colored folks," we very often copy their weaknesses, People. The programme was given by the which are always more glaring and appar- chorus of that institution, the Negro Sym- ent, and pay less-attention to their virtues. phony Orchestra under James Reese When we possess more race conscious- Europe, the Afro-American Folk Song ness we shall have more Negro choral singers and several individual soloists. societies and other distinctive racial organi- It was an interesting concert, and one zations. The Indian cannot be accused of calculated to stimulate the musical contributing melodies compositions imagination.to the Perhaps its most significant world, yet he is proud of his songs andfeature le- was a demonstration of what may gends. To the beating of the tom tom be andexpected of negro composers trained in to music which sounds to us more like dis- the modern techniques, as they are affec- cord, the red indulges in his war dance ted by their racial traits in music. The fact which inspires him to go fearlessly to that the programme consisted largely of battle. And the Indian is respected. The plantation melodies and spitiruals, which Japanese and Chinese also have their own were in each case "harmonized," distinctive style of music and are not "arranged," or "developed," showed that ashamed of it. these composers are beginning to form an It is significant that the Germans boast of art of their own on the basis of their folk their choral societies as do the Italians, material. The names of Harry T. French and other races. To show ap- Burleigh, Will Marion Cook, Rosamund preciation for your own music does not Johnson, ahd Samuel Coleridge-Taylor, are preclude a race from studying and ad- known to musicians outside their own race. miring the music of the masters of other These men were all present last night, ex- races. cept, of course, the late Mr. Taylor, and
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were represented by several compositions. musician. Will Marion Cook's harmoniza- The subject of negro music is receiving tion of a "I'm Troubled in Mind" was inef- good deal of attention nowadays in various fective, his "development," as the program directions among people not of the styled race, it, being a set of variations not for which reason the music presented characteristically last managed. The female night was all the more interesting. All voices that of Mr. Cook's chorus sang J. Rosa- part of it which related to singing was mond well Johnson's agreeable "Since You performed and forced serious con- Went Away". Mr. Cook's "Rain Song," sideration. The orchestral work was "The Ghost Ship" and "Swing Along" had perhaps a step far outside the natural meritorious features, the first and last be- genius of the race for as fortunate results, ing rhythmically interesting. but at least it demonstrated that pain- What is called the Negro Symphony Or- staking attention is being given to chestra this played two fine arrangements of branch of musical development. Mr. Burleigh's (fine enough for our Phil- Besides the participants already listed, harmonic or Symphony Orchestras to per- mention should be made of some arrange- form), compositions by James Reese ments of plantation songs for violin Europe, and Coleridge-Taylor, William H. 'cello made by Felix Weir and Leonard Tyers, Will H. Dixon and E. E. Thompson. Jeter, and played by them on these instru- The last'named musician proved to be the ments, which in an extraordinary way ablest pro- conductor of the evening (all the duced something of the effect of negrocomposers conducted their works) and with singing. his "Creole Waltz," built on an insinua- Others represented by compositions were tingly individual rhythm won the audi- James Reese Europe, William H. Tyers, ences unanimous approval. J. Rosamond Will H. Dixon, and E. E. Thompson. Johnson sang a group of his songs and Ab- Harry T. Burleigh, Rosamond Johnson, bie Mitchell, soprano, a group by Mr. and Abbie Mitchell did some good sing- Cook. ing, and there was an untrained soprano During the course of the eveinig David voice of unusually eloquent quality in the Mannes, who is largely responsible for women's chorus of the Afro-American musical educational opportunities being of- singers. fered the negroes, made a short address in which he announced the results of the prize-competition offered by the settlement 21 March 1914 for a work by a negro musician based on negro themes. Carl Diton, of Pains Musical America (p. 37) College, Augusta, Ga., was awarded first NEGROES PERFORM prize for "Four Mixed Choruses," being ar- THEIR OWN MUSIC rangements of Jubilee Songs, and R. Nathaniel Dett second prize for a chorus Annual Concert Reveals But Little "Listen to the Lambs." The judges were Interest in Serious Composition Rudolph E. Schirmer, David Mannes and Kurt Schindler. Under the auspices and for the benefit of A unique offering was the able playing by the Music School Settlement for Colored Felix Weir, violinist, and Leonard Jeter, People in New York a concert was given at 'cellist, of Foster's "Suwanee River," Carnegie Hall on March 11, made up of "Wu'kin' in the Field" and "Nobody Knows compositions by negro musicians and inter- the Trouble I've Seen." preted by them. This concert, the third effort of those who The spirituals 'Deep River" and "Dig My wish the negro to assert his musical indi- Grave," arranged by Harry T. Burleigh viduality, though more creditable than the and conducted by him, were among the two previous, fell short once more of the best things heard. Mr. Burleigh also sang, serious purpose th which these talents accompanying himself at the piano, his might be directed. Mr. Burleigh, for harmonizations of "You May Bury Me," example, excellent musician that he is, af- "Weepin' Mary" and "I Don't Feel No-ways ter distinguishing himself by singing his Tired." He again proved himself an able spirituals, spoiled his contribution to the
This content downloaded from 149.31.21.88 on Fri, 22 Feb 2019 15:07:48 UTC All use subject to https://about.jstor.org/terms 82 THE BLACK PERSPECTIVE IN MUSIC musical excellence of the program by 30 April 1914 singing the popular "Why Adam Sinned." The New York Age (p. 6) Along the same lines were Mr. Johnson's THE MARTIN RECITAL singing of his once popular "Bamboo Tree" and "The Owl and The Moon." Mr. (By LUCIEN H. WHITE) Europe's march, with which the concert began, was called "National Negro The Mar-culmination of a year's successful en- March," but proved to be a regulation deavor came before a large and appreci- march a la Sousa, devoid of even ative a single audience last Friday night at New negro characteristic. The same Starmight Casino, be when the music pupils of said of the compositions called David"Trocha- Irwin Martin, director of the Music Characteristic Negro Dance," which School proved Settlement for Colored People in to be a tango, and "Contentment," the a Citycom- of New York appeared in their mon waltz of the familiar and vulgar seventh annual recital. Mr. Martin's pupils Broadway type. The orchestral composi- are mostly juveniles, with a few adults, but tions by Dixon and Europe fall in the same the program was entirely unlike that usual- category. ly rendered by children. The pupils were It is to be granted that it will take some assisted by the orchestra and chorus from time to imbue these negro musicians with a the Music School Settlement and by the thorough musical appreciation, to teach Riverdale Orphan Asylum chorus. them the difference between serious music There were several numbers of special and popular "song and dance" tnusic. interest. Mme. Maria Selika, who has There is little excuse, however, for so many charmed audiences in all sections of this songs of an obvious "vaudeville" character country and in Europe for many years, ap- being heard at a concert of this kind, and peared on the program, assisted by the what is more being sung in the manner of children of the Colored Orphan Asylum at the variety theaters. The northern negro Riverdale and the senior orchestra of the has neither the love for nor the knowledge Music School Settlement, singing an ar- of what the old spirituals mean; and 'he rangement by Bush of Foster's "Old Folks does not sing them with warmth. This is at Home." Conrad C. Held has composed negro music however and it should be pre- served! an overture with two Negro folk-song melodies furnishing the theme. He has If the Negro Symphony Orchestra will used "Roll, Jordan, Roll," and "Nobody give its attention during the coming year to Knows My Trouble, Lord." This was a movement or two of a Haydn symphony rendered by the senior orchestra, with Mr. and play it at its next concert and if the Martin conducting. Eugene Mars Martin, composers, who this year took obvious 9 years old, son of Mr. and Mrs. Martin, pleasure in conducting their marches, has been appearing in public for several tangos and waltzes, will write short move- years as a violin soloist. His appearance on ments for orchestra basing them on classic Friday night was in Leonard's "Romance models, next year's concert will inaugurate in G major," and Brahms' "Hungarian a new era for the negro musician in New Dance, No. 1." Helena Sheldon Johnson, York and will aid him in being apprised at the talented little dancer, interpreted in his full value and in being taken seriously. classic poses Mendelssohns "Spring Song," It is impossible to applaud in Carnegie as played by the young women's orchestra Hall his imitations of the vulgar dance of the School, with Miss Mildred Gassaway music of Broadway originated by the tone conducting. In response to an enthusiastic poets of Tin Pan Alley. A.W.K. encore she gave another beautiful dance to the strains of Will Dixon's "Delicioso." Wil- laim Elkins conducted the settlement chor- us and orchestra in the rendition of Bee- thoven's wonderful "Hymn to Nature." Beginning with the rendition of Chaminade's "Air de Ballet," transcribed for the orchestra by Gillet, which opened the program, the audience was given a suc-
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cession of enjoyable treats. Little Norwood young women's orchestra played the ac- Fenner, 12 years old, played with splendid companiment, directed by Miss Gassaway. effect the first movement of the "Concerto The only appearance of the Settlement in D major" by Sietz. This little chap chorus is awas in the Beethoven's "Hymn to promising violinist and under Mr. Martin's Nature" number. This was sung by the tutelage will undoubtedly develop chorus, as he accompanied by the senior or- comes into maturity. A trio for violins chestra, by directed by William Elkins. It was Berelli was played by Corinne Porter, splendidly rendered. The chorus had evi- Mabel Lichblau and Thomas Lewis. Mrs. dently given careful study to the work, and Gertrude Willoughby played the piano under ac- Mr. Elkins' capable baton they sang companiment. with precision and authority. The chorus After Mme. Selika and the little orphan is well balanced and the voices show the ef- children came the overture on Negro fect of careful training. themes. Mr. Held has made a splendid ef- The final number of the program was the fort toward developing the possibilities of "Kinder" or "Toy Symphony" by Haydn, the songs selected, but his treatment is by for orchestra, piano (four hands), toys and no means complete. A thinness in the children's chorus. The children taking harmonic treatment is noticeable, part in this number were thoroughly drill- especially toward the end, where the ed and each one carried out its part climax could be reached in a wealth of without a hitch. The children of the coloring and thematic development. The chorus and the children with the toys were lack of it makes the .finale rather tame. placed upon the stage. The senior orchestra, directed by Mr. Mar- The program in its entirety was as follows: tin, gave a commendable rendering of the overture. The Settlement junior string PART I quartet, composed of Norwood Fenner, 1. Chaminade-C Air de Ballet first violin; Eugene Mars Martin, viola; Senior Orchestra Wm. Butler, Jr., second violin, and David 2. Sietz-Concerto D Major (1st Move- I. Martin, Jr., 'cello, played a Menuette In ment) Norwood Fenner G major by Mozart. The audience gave 3. Berelli-C Trio for Violins them an enthusiastic reception. The tiny chaps gave a good performance. Corrine Porter, Mabel Lichblau and The number that attracted more atten- Thomas Lewis, (Mrs. Gertrude Will- tion than any other was the violin playing oughby at the piano) of little Eugene Mars Martin. Self-posses- 4. Bush-Foster "Old Folks at Home" ed and without the slightest trace of ner- Mme. Marie Selika wth the children vousness, the little fellow played his dif- of the Colored Orphan Asylum and ficult number with absolute disregard of the Senior Orchestra. everything except his music. His tone was 5. Held, Conrad C- pure, pitch correct, and rhythm without a Overture built on two Negro Folk fault. In some of the more difficult pas- Songs. sages it seemed that he would not get Senior Orchestra. through without dropping a note or slurring a phrase, but he overcame all dif- PART II ficulties and every note and phrase was 1. Mozart-Menuette G Major sharp and clear-cut and brought out Settlement Junior String Quartet. without hesitation or doubt. Of course, Norwood Fenner, 1st violin; Eugene the child is lacking in temperament-that Mars Martin, viola; Wm. Butler, Jr., will come with years. 2nd violin; David I. Martin, Jr., cello David I. Martin, Jr. a brother to Eugene, and only 6 years old, played the solo 2. (a) Leonard G. -Romance G Major cello part in the canzonetta from the (b) Brahms-Hungarian Dance No. 1- opera "Don Giovanni" by Mozart. The ac- Eugene Mars Martin. (Conrad C. companiment is played pizzicato by the or- Held at the piano) chestra while the 'cello takes up a little dit- 3. (a)Dixon Wm. H.-Tone Poem, "The ty from the songs of the people. The Pansy"
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(b)Dvorak - Humoresque Club, the New Amsterdam Orchestra, and (c) Mozart-Canzonetta (cello solo by several soloists, vocal and instrumental, David I. Martin, Jr.) The Young took part. After the first part of the pro- Women's Orchestra, Miss Mildred gram, Charles W. Anderson, the colored Gassaway conducting. ex-Collector of Internal Revenue in one of the New York districts, made a speech in 4. Beethoven-Hymn to Nature Settlement Chorus and Orchestra, which he described the aims and objects of the Settlement as being, through music, to William Elkins conducting. contribute toward better citizenship, to 5. Mendelssohn F- Spring Song- give the idea of the dignity of service, and Young Women's Orchestra, with to uplift the lives of the people who come Helena Sheldon Johnson, child dan- under the influence. cer. The most ambitious number of the 6. Haydn Jos.-Kinder (Toy) Symphonyprogram was "Hiawatha's Wedding Feast," for Orchestra, 'piano, (four from hands) S. Coleridge-Taylor's cantata of toys and children's chorus. "Hiawatha." This composition the Music Committee permitted the students to un- At the conclusion of the musical dertake program on account of their great wish to the hall attaches cleared away the study seats an importantand work by one whom they prepared the floor for dancing, consider music and forwhom others consider to be which was furnished by the New the Amster-greatest musician of their race, even dam Orchestra, W. H. Wiggins, though leader. it might be beyond their present Frank W. Stewart of the Society proficiency School ofto master fully. It was also ex- Dancing was the floor manager. plained that the orchestra which was to A bevy of pretty girls, members play atof the the concert was unable to do so, Flying Squadron, under Mrs. and Dora at the Colelast moment another orchestra Norman, president, served as had program to be formed and rehearsed by J. girls. Those serving were Miss Rosamond Madeline Johnson. Allison, Miss Bessie Pike, Miss Elsie Ben- There were numerous other compositions son, Miss Vivienne A. Ward, Miss MaBelle by negro and white composers heard; A. White, Miss Carrietta V. Owens, Miss negro spirituals, a chorus with solo. Mamie Sousa, Miss Helen Elise Smith, Miss "Exhortation," by Will Marion Cook: Maude Turner, Miss Pauline Turner, Miss "Listen to the Lambs," by R. Nathaniel Gay Thomas, Miss Alice Sousa. Dett, awarded second prize in last year's The ushers were Daniel Agard, Mimgo competition; "Southland," by Mr. Johnson; McCall, James N. Anderson, Herbert songs by Harry T. Burleigh, Coleridge Harris, Paul Prayer, Robert Hamilton, Taylor, J. Rosamond Johnson. Miss Ethel Henry Karney, Edward H. Burney, Paul Richardson played Liszt's eighth Hun- Scott. The caterers were Thompson & garian Rhapsody. Under the circum- Porter. stances, the results were often such as to deserve commendation and encouragement, even though there were defects, and some- times serious ones. The audience was ready 13 April 1915 to give the commendation and en- The New York Times (p. 11) couragement freely and to overlook the de- fects. There was, indeed, much that was NEGRO MUSICIANS HEARD striking and suggestive of the significance and possibilities of the Colored Settlement's Concert of the Music School Settlement work. for Colored People.
The Music School Settlement for Colored People came before the public last evening in a concert in Carnegie Hall intended to give some illustration of the work of the organization. The Music School Choral Society, the Music School Settlement Glee
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15 April 1915 Part II The New York Age (pp. 1, 2) 6. Hungarian Rhapsody (No. 3) ..... Liszt Miss Ethel Richardson MUSIC SCHOOL'S ANNUAL CONCERT 7. a. "You're Sweet to yer Mammy" J. Rosamond Johnson Negro Singers of Settlement b. Swanee River ...... Stephen Foster Mrs. Sara Bird School at Carnegie Hall on Monday Night 8. a. The Glory of the Day was in Her Face ...... Harry T. Burleigh ROLAND HAYES APPEARS b. Life and Death.. S. Coleridge-Taylor c. Morning, Noon and Night, Boston Tenor Gives First Rendition J. Rosamond Johnson of New Songs by Harry Burleigh Roland W. Hayes and Rosamond Johnson 9. Hiawatha's Wedding Feast also Solo in Hiawatha S. Coleridge-Taylor Music School Choral Society CHAS. W. ANDERSON SPOKE Conducted by Mr. Johnson Former Collector of Internal Revenue Roland W. Hayes, Soloist Ethel Richardson, Piano Makes an Eloquent Address Telling of Work of Music Settlement School - J.F.R. Wilson, Organ J. RosamondJohnson, Supervisor, Conducted Chorus of 160 voices. (BY LUCIEN H. WHITE)
PROGRAM The above program was rendered at the Part I annual concert of the Music School Settle- 1. a. African Dance ...... Montague Ring ment for Colored People, J. Rosamond Johnson, supervisor, at Carnegie Hall, b. Old Kentucky Home.. Stephen Foster Monday night, April 12, in the presence of Trombone Solo, Fred W. Simpson c. The Memphis Blues.... W.C. Handy an audience that well-nigh filled that im- New Amsterdam Orchestra mense auditorium. Many of the most im- portant figures in the music life of New 2. a. Bright Sparkles .....Negro Spiritual York City being among those present, in- b. My Lord's a-writin'. . Negro Spiritual Music School Settlement Glee Club cluding such distinguished artists as Ferru- 3. a. "Exhortation ..... Will Marion Cook cio Busoni, Ossip Gabrilowitsch, Percy H.T. Bolden and Glee Club Grainger and Maud Powell. Especially b. "Listen to the Lambs" (awarded 2nd gratifying was the attendance of the prize in 1914 competition), colored people. They were easily three- R. Nathaniel Dett fourths of the large audience, and were Miss Mattie Harris and Glee Club liberal patrons of the high-priced seats, as "Go Down Moses" .....Negro Spiritual well as of the cheaper ones. Glee Club Mr. Johnson labored under many dis- 4. "Southland" (based on theme of "Go advantages in preparing the program. He Down Moses"), has been in charge of the Music School Settlement only six months, taking charge J. Rosamond Johnson last October, and a raft of detail work in Music School Choral Society and Orchestra organizing and systematizing the various departments and classes of the school Obligato by Mrs. Sara Bird 5. "Roll dem Cotton Bales," has fallen to his hands. Then, with barely two weeks' notice, he had to substitute the J. Rosamond Johnson New Amsterdam Orchestra, which devotes Mr. Johnson and Orchestra What the Music School Settlement Stands its main attention to dance music, in place For of a symphony orchestra. Within that Hon. Chas. W. Anderson short space of time, with limited opportun- ity for rehearsals, he had to prepare that orchestra to handle the extremely difficult
This content downloaded from 149.31.21.88 on Fri, 22 Feb 2019 15:07:48 UTC All use subject to https://about.jstor.org/terms 86 THE BLACK PERSPECTIVE IN MUSIC orchestral score to Coleridge-Taylor's Glory of the Day Was In Her Face," and "Hiawatha's Wedding Feast." The one best by Rosamond Johnson, "Morning, equipped symphony orchestra would Noon find and Night" (the words to both of that a hard job. which were written by James W. Johnson, contributing editor of the Age) and one by A Commendable Result. Coleridge-Taylor, "Life and Death." The The result of his efforts are to be com- accompaniments were played by Rosamond mended. There is room for improve- Johnson. Mr. Hayes was in splendid voice ment, but Mr. Johnson and his co-workers and bore out the promise of his last ap- have no need to be discouraged. Plainly pearance in New York by giving a finished does it show that there is the capacity for greater achievement, a more finished work, a broader comprehension and a more skil- ful interpretation. The enthusiasm and energy of the director, coupled with know- ledge, ability, skill, and a foundation of trained preparedness which pre-eminently fit him for the task, make it very probable that much greater results will soon be shown. The singing of the Music School Choral Society, an organization of about 160 voices, gave further emphasis to the fact that the Negro is essentially a singing people. Its ensemble work in Rosamond Johnson's "Southland" was thrilling and ef- fective and coupled with the obligato work of Sara Byrd, afforded deep and real en- joyment to the audience. Mrs. Byrd's voice, soaring above the organ-like volume of tone from the chorus, was clear, ringing sweet and true, with a carrying quality which made it distinctive. Incidentally, Mrs. Byrd's work later in two songs, "You're Sweet to your Mammy," by Rosa- and artistic performance. He is undoub- mond Johnson, and "Swanee River," was tedly the premier tenor of the race, and not nearly so satisfactory. many of the most critical musicians of "Listen to the Lambs," a composition by Boston have said that he has no superior R. Nathaniel Dett of Hampton, which was among the world's greatest singers only in awarded second prize in a competition in point of experience and development. The 1914, three spirituals, and Cook's "Exhor- Age reported two weeks ago that he had tation," were sung by the Music School been chosen by a committee of prominent Settlement Glee Club, composed of male musicians to represent Massachusetts at the voices. The obligato in "Exhortation" was National Federation of Music Clubs in Los sung by H. T. Bolden, tenor, who has a Angeles, California. From the large num- promising voice, but evidently was afflict- ed with nervousness. In the Dett number ber of contestants who competed, Mr. Hayes was one of three selected, the other Miss Mattie Harris, soprano, sang the two being white representatives - Miss obligato. Aurora LaCroix of Southbridge, pianist, and Miss Abbie Conley, contralto. In sing- Roland Hayes is an Artist. ing the solo in Hiawatha, "Onaway, Awake Roland W. Hayes of Boston was the tenor Beloved." Mr. Hayes, though handicapped soloist for Hiawatha's Wedding Feast, and by the orchestra, gave most delightful plea- he also had a group of songs. He sang two sure. His conception and execution, with new songs, one by Harry T. Burleigh, "The tone quality, were exceptionally good. I
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believe that an omission of the portamento April 12, 1915 which he makes from B flat to D flat, in My dear Mr. Johnson: the ending of the solo, would not detract I cannot thank you enough for the joy my from his performance. mother and I had at to-night's concert, nor "Hiawatha's Wedding Feast," by tell you how much we admired all your Coleridge-Taylor, which concluded the work as inspired leader, organizer, com- program, was sung by the entire chorus, poser and singer. You were a hero, in- with piano, organ and orchestral accom- deed, and thrilled everyone with any touch paniment, J. Rosamond Johnson conduc- of the same quality within themself. Above ting. That Mr. Johnson has been able, all, deepest admiration for and congratula- within six months, to organize a chorus, trytions on "Southland" and your other com- out and assign the voices, and prepare forpositions. rendition so difficult a work is almost be- Most admiringly and warmly yours. yond believing. When it is remembered PERCY GRAINGER that at the same time he was burdened with a mass of minutiae incident to the routine work of the school the results A Promising Pianist. achieved are almost uncanny. This doesA number on the program which won not mean that the work of the chorus was from the audience unstinted plaudits was perfect-far from it. Much remains to beLiszt's Hungarian Rhapsody, No. 8, played done, but the work of the chorus on Mon- by Miss Ethel Richardson, pianist, of the day night shows that the accomplishment Music School Settlement. This young lady will be simply a matter of time and ap- is from Newark, N. J. but she received her plication. training in New York under Damrosch. Modest and unassuming, her personal Chorus Needs Balancing. characteristics are reflected in the smooth, The chorus is not well balanced, there be- even style of her playing. She brings to her ing a notable deficiency in the bass section, task a developed technique and compre- which also showed timidity in making its hension, though it might be said she does attacks. A toning down of the altos is not bring out the wild abandon of the gyp- needed, one of the voices in that section es- syish spirit which runs through the Liszt pecially ringing out in clarion notes above composition. She gave a splendid exhi- all the rest. It was a good voice, but the bition of nerve and self-control, when, in possessor opened up too much a very the middle of her selection, a temporary powerful organ. The sopranos and tenors lapse of memory came upon her. Covering were well balanced, and sang with her face for a moment with her hand, she precision of attack, rotundity of tone and recovered the lost strain, and proceeded agreeable response to the conductor's with the execution of her number. It was a baton. The total result of the work of Mr. brilliant effort and the audience would not Johnson is to his credit. He has accom- be satisfied with a bow in acknowledg- plished tasks that seemed impossible. He ment. She tried to refuse an encore, but has taken a crude mass and worked it into the insistency of the people compelled a re- symmetry and shapeliness. He will be en- sponse, and she gave "The Bamboola," a couraged, I am sure, to continue the work transcription by Coleridge-Taylor of a which presages so much for the future. South African dance. Percy Grainger, the Australian composer In the intermission between part first and and pianist, at present on a visit to the part second, the Hon. Charles W. Ander- United States, was one of the interested son, late Collector of Internal Revenue, auditors and it goes without saying that was introduced by Elbridge Adams, pre- Mr. Johnson will derive much satisfaction sident of the Music School Settlement, and and pleasure from the following note which in his inimitable way Mr. Anderson told Mr. Grainger wrote Monday night after the audience "What The Music School Set- returning to his hotel from the concert: tlement Stands For." He emphasized the Hotel Calumet fact that the school is not alone for the 340 West 57th Street, purpose of teaching the boys and girls, New York men and women, to sing and play, but that
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it also stands for the dignity of service. ed the audience concerning the needs of The value of a man or woman to the com- the Settlement. The program concluded munity, he declared, was in what that withper- the "Wedding Feast" from S. son contributed by way of service. He paidColeridge-Taylor's "Hiawatha." a glowing tribute to George Foster A.S. Peabody, the philanthropist who has done much for the uplift of the Negro, and in this tribute the large audience enthusiasti- cally concurred. He also commended theExcerpt from an article by Percy Grainger, work of others connected with the school "The in Impress of Personality in Unwritten an advisory capacity. Music" in The Musical Quarterly 1 (1915): 426-427.
17 April 1915 THE ELECTRIFYING "CLEF CLUB OF Musical America (p. 41) THE CITY OF NEW YORK"
CONCERT AIDS MUSIC SETTLEMENT WORK A distant echo of the habits of unwrit- ten music can be traced in the marvelous Negro Performers in Program of accomplishments of the colored instrumen- Works by Composers of Their Race talists and singers who make up the New York "Clef Club," an organization which For an audience which was three-quarters could not fail to electrify Europe if presen- white, the Music School Settlement for ted there, and to hear which it is more Colored People in New York created than a worth one's while to travel across the serious interest and a certain sunshiny Atlantic.en- The compositions they interpret joyment at its annual concert, given are in art-music, and reveal the strict har- Carnegie Hall on Monday evening, April monic habits of the written art, but the 12. The execution of the program under ease with which those members of the Club the leadership of J. Rosamond Johnson, who cannot read musical notation learn which was the outcome of six months' en-and remember intricate band and choral semble work, showed clearly the earnest parts in- by heart (often singing tenor and tent, hard work and real interest in music. playing bass) and many individualistic and It was an indication of the future possibili- rhapsodical traits in their performances ties of this work rather than of the pre- suggest the presence of instincts inherited sent conditions which have been little more than chaotic. from the days of communal improvisation. These qualities are nowhere more in With the exception of Stephen C. Foster's evidence than in their exhilarating ren- "Old Kentucky Home," the entire program derings of two fascinating choral numbers was composed of works from the pens of by that strangely gifted American com- negroes. Three solos sung with a great poser, Will Marion Cook-"Rain-song" deal of musical taste and beauty of tone by and "Exhortation"-in themselves works of Roland W. Hayes were: "The Glory of the real genius and orginality that deserve a Day was in Her Face" by Harry T. worldwide reputation. Burleigh; "Life and Death," by S. Coleridge-Taylor, and J. Rosamond John- son's "Morning, Noon and Night." The singing of old negro spirituals by a chorus of men provoked interest, although the singers were not always at one with the key. J. Rosamond Johnson's "Roll dem Cotton Bales," a characteristically tuneful and rhythmical composition sung by the composer with the orchestra, was repeated. The Hon. Charles W. Anderson address-
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