Music and Some Highly Musical People Part 36

III.

NEW ORLEANS.

THE MUSICAL AND GENERAL CULTURE OF ITS COLORED CITIZENS.

"Though last, not least."

SHAKSPEARE.

Before the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France.

The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris--which has ever been to its enamoured citizens not only all France, but all the world--became for France the centre.

Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtly _menestrels_, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas,--first to Canada, and then to Louisiana,--the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French "Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, together with certain forms of divine wors.h.i.+p observed by a large number of them,--all this served for a long time to remind one of the magnificent capital of France.

The opera, with its ravis.h.i.+ng music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors,--all so well calculated to charm a people of luxurious tastes,--has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there: such persons, pursuing their studies, not with a pecuniary view (being in easy circ.u.mstances), but simply from a love of music, have ever found congenial a.s.sociation in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate circ.u.mstances to seek support in discoursing it to others,--these have always found ready and substantial recognition in this music-loving city.

But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others? Strange to say, it does.

Natural lovers of the "art divine," and naturally capable of musical expression,--they too, although with far less of advantages for culture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago "The New-Orleans Picayune" testified to their superior taste for and appreciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties of _abject_ servitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, were _allowed_ to acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions; many of their sons and daughters attaining to a surpa.s.sing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman.

Again: there was another portion of this same race, who, in the circ.u.mstances of their situation, were far less fortunate than even those of whom I have just been speaking: I mean those who were directly under the "iron heel of oppression." Nevertheless, many of these were so moved by a spirit of art-love, and were so ardent and determined, as to have acquired a scientific knowledge of music, and to have even excelled, strange to say, in its creation and performance, in spite of all difficulties. As to just how a thing so remarkable, nay, I may say wonderful, was accomplished, would form many a story of most intense and romantic interest. But with present limits I may not narrate the many instances of heroic struggle against the foul spirit of caste prejudice, and the many n.o.ble triumphs over the same, that belong to the lives of nearly if not quite all of the artists of whom I shall presently briefly speak.

And here it is utterly impossible to resist the depressing effects of that deep feeling of gloom which settles upon one as thoughts like the following crowd into the mind. How much, how very much, has been lost to art in this country through that fell spirit which for more than two hundred years has animated the majority of its people against a struggling and an unoffending minority,--a spirit which ever sought to crush out talent, to quench the sacred fire of genius, and to crowd down all n.o.ble aspirations, whenever these evidences of a high manhood were shown by those whose skins were black! Ah! we may never know how much of grandeur of achievement, the results of which the country might now be enjoying, had not those restless, aspiring minds been fettered by all that was the echo of a terrible voice, which, putting to an ign.o.ble use the holy words of Divinity, cried up and down the land unceasingly, "_Hitherto shalt thou come, but no farther!_" For to judge as to what "might have been," and what yet may be, despite the cruelties of the past (since, even in this instance, "the best prophet of the future is the past"), we have only to look at what is. But from those bitter days of a barbarous time, when hearts were oft bowed in anguish, when tears of blood were wept, and when often attempts were made to dwarf yearning intellect to a beastly level,--let us turn quickly our weeping eyes from those terrible days, now gone, we hope never again to return, towards that brighter prospect which opens before our delighted vision: let us joyfully look upon what is, and think of what may be. For

"The world is cold to him who pleads; The world bows low to knightly deeds."

Returning, then, directly to the subject in hand (viz., the colored musical artists of New Orleans), I first quote from a paper prepared by a cultured gentleman of that city, himself a fine musician, the following retrospective comment on some of the former residents there:--

"For want of avenues in which to work their way in life, and for many reasons which are easily understood, our best artists [colored]

removed to other countries in search of their rights, and of proper channels in which to achieve success in the world. Among these were Eugene Warburg, since distinguished in Italy as a sculptor; Victor Sejour, in Paris, as a poet, and composer of tragedy; Caraby, in France, as a lawyer; Dubuclet, in Bordeaux, as a physician and musician; and many others." All these were forced to leave New Orleans, their native city, because of the prejudice that prevailed against them on account of their color. In other countries, which Americans have been wont to style, forsooth, "despotic," these aspiring men found ready recognition, and arose, as has been seen, to high distinction in their chosen callings.

Of a few others who for these same reasons left their native city and went abroad, as well as of a large number of talented, educated musical people who remained in New Orleans, I shall now speak.

_The Lambert family_, consisting of seven persons, presents the remarkable instance of each of its members possessing great musical talent, supplemented by most careful cultivation.

_Richard Lambert_, the father, has long been highly esteemed as a teacher of music. Many of his pupils have attained to a fine degree of proficiency as performers of music, and some of them are to-day composers.

_Lucien Lambert_, very early in life, attracted attention by his ardent devotion to the study of music. He used to give six hours of each day to practice, and became a pianist of rare ability. With a style of performance really exquisite, he has always excited the admiration, and sometimes the wonder, of his auditors, by easy triumphs over all piano difficulties. But his genius and ambition were such, that mere performance of the music of others did not long satisfy him. He became a composer of great merit. A man of high soul, he also, ere long, grew restive under the restraints, that, on account of his complexion, were thrown around him in New Orleans. He longed to breathe the air of a free country, where he might have an equal chance with all others to develop his powers: and so, after a while, he went to France; and, continuing his studies in Paris under the best masters of the art, he rapidly attained to great skill in performance and in composition. He finally went to Brazil, where he now resides, being engaged in the manufacture of pianos. He is about fifty years of age, a gentleman of imposing appearance. Lucien Lambert has written much music. Below is given the t.i.tles of only a very small number of his compositions:--

"La Juive;" "Le Depart du Conscrit" (fantasie march); "Les...o...b..es Aimees;" "La Bresiliana;" "Paris Vienne;" "Le Niagara;" "Au Clair de la Lune," with variations; "Ah! vous disais-je, Maman;"

"L'Americaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches et Clochettes;" "etude Mazurka."[18]

[Footnote 18: Only to those who have not read the introduction to these sketches will it seem strange that the t.i.tles of these, and of the works hereafter mentioned, although they are the creations of Americans, are yet given in the French language. For the information of such persons, I repeat in substance what has already been said, that these authors, in adopting the course just referred to, have only followed a custom which is most generally observed in the highest art-circles of New Orleans, "the Paris of America,"--a custom, too, which, no doubt, is in harmony with the tastes, as it is with the acquirements, of the authors themselves, all of whom speak and write the French language quite perfectly. It may be well to here say also, that all of the above-mentioned works, and all others (not otherwise specified) mentioned hereafter, bear the imprint of some one of the princ.i.p.al music-publishers of the day, from whom, of course, copies may be ordered, if desired.]

_Sidney Lambert_, stimulated by the instruction and good fame of his father and the high reputation gained by his brother Lucien, and himself possessing rich natural powers, soon became conspicuous for brilliant execution on the piano-forte, and as a composer of music for that and other instruments. He has also written a method for the piano, the merits of which are such as to cause him to be lately decorated for the same by the King of Portugal. He is now a professor of music in Paris, France. Here is a partial list of pieces composed and arranged by him:--

"Si j'etais Roi;" "Murmures du Soir;" "L'Africaine;" "Anna Bolena;"

"La Sonnambula;" "L'elisire;" "Transports Joyeux;" "Les Cloches."

[Transcriber's Note: 'Les Clochettes' in the Appendix]

_Mr. E. Lambert_ is the very efficient leader and instructor of the St. Bernard Bra.s.s Band. He is a line musician, performing with much skill on several instruments.

_John Lambert_, only sixteen years of age, is already regarded as an excellent musical artist. He was educated in St. Joseph School, New Orleans. He seems almost a master of his princ.i.p.al instrument, the cornet, playing with ease the most difficult music written for the same. He is a member of the St. Bernard Band,--a very valuable member too, since he can play a variety of instruments.

_The two Misses Lambert_ are accomplished pianists. One of them is an excellent teacher.

_Edmund Dede_ was born in New Orleans in the year 1829. He learned first the clarinet, and became a good player. He afterwards took up the violin for study, under the direction of C. Deburque, a colored gentleman. After a while he took lessons of Mr. L. Gabici, who was at one time chief of the orchestra of the St. Charles Theatre. Dede was a cigar-maker by trade. Being of very good habits, and economical, he acc.u.mulated enough money after a while to pay for a pa.s.sage to France, where, on his arrival in 1857, he received a welcome worthy of a great people and of so fine an artist. He is very popular, not only as a violinist, but as a man, being of fine appearance, of amiable disposition, and very polite and agreeable in his manners. While a student in New Orleans, many were they who seemed never to grow tired in listening to his peculiarly fine playing of the studies of Kreutzer and the "Seventh Air Varie de Beriot." He is considered alike remarkable in his perfect making of the staccato and the legato; is very ardent in his play, throwing his whole soul into it; and meets with no difficulties that he does not easily overcome. Mr. Dede is now director of the orchestra of "L'Alcazar," in Bordeaux, France. He is of unmixed negro blood, and is married to a beautiful and accomplished French lady.

The t.i.tles of only a very few of the works composed by Edmund Dede can now be given. They are as follows: "Le s.e.m.e.nt [Transcriber's Note: Serment] de l'Arabe," "Vaillant Belle Rose Quadrille" (this it was called originally; but I believe the piece has been published under another name), "Le Palmier Overture."

_Basile Bares_ [Transcriber's Note: corrected from Bares] was born in New Orleans Jan. 2, 1846, and is what may be called a self-made man.

He to-day enjoys a fine reputation as a pianist and composer. His studies on the piano were begun under Eugene Prevost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Bares studied harmony and composition under Master Pedigram. In 1867 he visited the Paris Exposition, at which he remained four months, giving many performances upon the piano-forte.

Mr. Bares resides in New Orleans. I append this partial list of his works: "La Capricieuse Valse," "Delphine Valse Brillante," "Les Varietes du Carnaval," "Les Violettes Valse," "La Creole" (march), "elodia" (polka mazurka), "Merry Fifty Lancers," "Basile's Galop,"

"Les Cents Gardes" (valse), and "Minuit Polka de Salon."

_Professor Samuel Snaer_, a native of New Orleans, is in his forty-fourth year, and is a musician of remarkably fine powers. He is a brilliant pianist, and a most skilful performer on the violin and violoncello. As a violoncellist he has but few equals anywhere. He is an esteemed teacher of violin and piano, and is organist at St. Mary's (Catholic) Church.

But Professor Snaer's musical abilities do not end with the accomplishments just mentioned. He is, besides, a ready composer, and has produced much music of a varied and very meritorious character.

Extreme modesty, however, has prevented him from publis.h.i.+ng many of his pieces. Generally his habit has been to sit down and compose a piece, and then allow the ma.n.u.script to go the rounds among his acquaintances. As he would make no request for its return, nor express solicitude regarding its fate, the music rarely returned to the composer; so that to-day the most unlikely place to find copies of his works is at the professor's own residence.

Professor Snaer has a memory of most wonderful power. When he was eighteen years old (that was twenty-six years ago), he composed his "Sous sa Fenetre." Without having seen this music for many years, he can to-day write it out note for note. He remembers equally well each one of his many compositions, some of which have been of an elaborate and difficult character. He has lately rewritten from memory, for a gentleman in Boston, a great solemn ma.s.s which he composed several years ago. Those who are familiar with the original draught of this ma.s.s say that the present one is its exact counterpart.

The following comprises in part a list of the works of Professor Snaer:--

"Sous sa Fenetre," published by Louis Grunewald, New Orleans.

"Le Chant du Depart," published by Louis Grunewald, New Orleans. (Two editions issued.)

"Rappelle-toi," published by Louis Grunewald, New Orleans.

(Two editions issued.)

"Grand Scene Lyrique" (solo and duetto).

"Graziella" (overture for full orchestra).

"Le Vampire" (vocal and instrumental).

"Le Bohemien" (vocal and instrumental).

"Le Chant des Canotiers" (trio); and a large number of Polkas, Mazurkas, Quadrilles, and Waltzes.

Professor Snaer is also a man of letters, a _litterateur_; and in such matters, as well as those of music, much deference is paid to his judgment by his contemporaries.

_Mr. Henry Staes_ is a youth quite ardent in his study of the piano-forte.

_Mr. Lanoix Parent_, formerly a member of the Philharmonic Society, is a performer on the violin, viola, and some other instruments.