Music and Some Highly Musical People Part 29

XX.

THE GEORGIA MINSTRELS.

"All the minstrel art I know, I the viol well can play; I the pipe and syrinx blow; Harp and geige my hand obey; Psaltery, symphony, and rote Help to charm the listening throng; And Armonia lends its note While I warble forth my song."

_The Lay of the Minstrel._

The origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar.

Their accomplishments, especially in music, secured for them the ready _entree_ of the most refined society, particularly that of elegant ladies, of whom they were great favorites; while the most polished princes always extended them a warm welcome.

At one time in their history, the fate of letters was in the sole keeping of the troubadours. Had it not been for the frequent presentations and allusions made to literature in their songs, its chain, connecting past and present, would have been broken.

An elegant French writer, speaking of the ancient troubadours, observes, "They banished scholastic quarrels and ill-breeding, polished the manners, established rules of politeness, enlivened conversation, and purified gallantry. That urbanity that distinguishes us (the French) from other peoples is the fruit of their songs; and, if it is not from them that we derive our virtues, they at least taught us how to render them amiable."

I have thus briefly alluded to the early history and characteristics of the minstrel, because I consider such a course as just towards the present profession, and in order to show how sadly (in this country certainly) have its members deviated from the refined, the brilliant practices of their predecessors. Besides, in doing this, I am not without a hope that I may be contributing in some slight degree towards elevating a profession, the archetypes of which discoursed the finest music of their times, and whose courtliness of demeanor and varied acquirements were such as to render them the fit a.s.sociates of persons of the highest culture. For, in this instance, why may not what has been be again?

It is unnecessary to dwell at length upon the fact so sadly apparent, that the American minstrel has had for his princ.i.p.al "stock in trade"

the coa.r.s.e, the often vulgar, jest and song; a disgusting (to the refined) buffoonery, attended with painfully displeasing contortions of the body; and, worst of all, the often malicious caricaturing of an unfortunate race.

It is, however, cause for gratulation, that American minstrelsy has of late been divested of much of its former coa.r.s.eness; that its entertainments have become so much diversified and elevated in character--the musical portions of which at times so nearly approach the cla.s.sical--as to render the same entirely different from the minstrel performances so common a few years ago. It is found that a public rapidly becoming enlightened, and freed from the influences of an unreasoning and cruel race-hatred, no longer enjoys with its former relish the "plantation act," so called, with all its extravagant and offensive accompaniments. Compelled to recognize this change of sentiment and taste, the best troupes now frequently give, instead of the "act" just mentioned, some other one, which, while comical enough, is yet free from features distasteful to people of refinement.

In view of all this, may we not ask, Is the minstrel guild going back to the standards of its ancient and more n.o.ble days? Let us hope that it is.

And to the attention of those who have regarded with aversion (often with good cause too) the modern race of "troubadours" I commend the cheering tendencies just noted, since these may be held as indicating the dawn of a brighter day for all concerned.

I next invite the reader to the perusal of a sketch of the famous "Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being all _real_ colored men, and therefore not dependent upon "burnt cork,"--being, as some have put it, "the genuine article,"--they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by any means the most important cause of their unprecedented success.

But the reader is first requested to pardon what may be thought a digression: the writer considers it a necessary one.

He is aware, that, in presenting in this book the following account of the Georgia Minstrels,--an account which, on the whole, must be regarded as highly complimentary to the latter,--he may be incurring the displeasure of some very excellent people who belong to the same race as that of the members of the troupe mentioned. This he very much regrets; for although he considers these persons as perhaps unnecessarily sensitive, and certainly mistaken in some of the opinions which they hold regarding _this_ company of minstrels (whose performances, by the way, most of said persons have never witnessed), he yet entertains the fullest respect for the honorable _motives_ that inspire their disfavor.

The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the b.r.e.a.s.t.s of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed here in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine _musical_ achievements of the subjects of this sketch. Of these, a.s.suredly, we can _all_ be proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.

The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and otherwise distribute play-bills for a company of colored minstrels who were to appear in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appearance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Minstrels. He resolved as he entered, however, that he would give his particular attention to the _musical_ part of the programme, and try to discover in that such evidences of talent and fine attainments as would justify him in sketching the troupe. He was not pleased, of course, with that portion of the performance (a part of which he was compelled to witness) devoted to burlesque. Nevertheless, he found in the vocal and instrumental part much that was in the highest degree gratifying; for during the evening he listened to some of the most pleasing music of the time, sung and played in a manner evincing on the part of the troupe not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel question; feeling that the Georgia Minstrels had presented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered while witnessing that part of the performance devoted to caricature.

Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (except in one or two instances) scientific training, the Georgia Minstrels began their career under the leadership of Mr.

George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one; nor did they attain to a firm position before the public until after Mr. George B. Callender a.s.sumed the directorship.

By studious application, most of the original "Georgias" became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit; the skilful director "pressing into the service," so to speak, as he pa.s.sed through the country, the best talent obtainable.

At present, only two or three of the original members are with the company.

The troupe is now composed of twenty-one performers; and each possesses either rare vocal or instrumental (most of them both) natural talents and acquirements; and, when these qualities are combined, a performance of such delightful beauty and finish is presented, as to elicit from their audiences the most enthusiastic applause. From the instrumentalists of this company either a fine orchestra or bra.s.s band can at any time, as occasion requires, be formed; while they present solo, single and double quartet, and _ensemble_ singing, of most charming power and sweetness. At least four of their number have been in the past accomplished teachers of music; one has played in some of the best orchestras of England; one is a superior performer upon at least four instruments, while he is a fair player of twelve; several are excellent performers on two or three instruments; and three of the troupe arrange and write music.

The following-named persons are members of the troupe at this writing (May, 1877):--

GEORGE B. CALLENDER _Manager._ GEORGE A. SKILLINGS _Musical Director._ RICHARD G. LITTLE _Stage Manager._ WILLIAM W. MORRIS _Interlocutor._

F.E. LEWIS, SAMUEL JONES, WILLIAM ELMER LYLE, WILLIAM KERSANDS, JAS. EMIDY, PETER DEVONEAR, GEORGE COOPER, ROBERT MACK, DAVID SCUDDER, JNO. T. DOUGLa.s.s, JAS. GRACE, OCT. MOORE, R. EMIDY, ROBERT HIGHT, CHARLES ANDERSON, JAS. FERNAND, AND MESSRS. THOMPSON AND GAINES.

As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that a year or two ago, while the company remained over Sunday in a Western city in which they had performed during the previous week, this quartet was invited to sing (as its choir) in one of the most fashionable churches there. The invitation was accepted; and it may be remarked, that although these fine singers did full justice to the proprieties of the occasion, and thus justified the bestowment of a marked honor upon them,--it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred upon members of a minstrel troupe.

While in Boston in 1876, the company were invited to a "camp-fire" of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own cla.s.sical quartet and that of the "Georgias"

united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences simply to show the character and extent of the popularity which this excellent troupe everywhere wins: for to please a miscellaneous throng in public halls and theatres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, is the experience of most all minstrel companies; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoyments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone.

And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony with what I have said respecting the merits of these famous performers, add some points of interesting description.

Says "The New-York Sun,"--

"Every song was encored some two or three times."

"The New-York Herald,"--

"The new melodies find in them the fittest interpretations."

"The Memphis Appeal,"--

"We might write a column of praise, and even then there would be something unsaid of their merit. They are good in every thing they attempt."

"The Indianapolis Journal,"--

"We doubt if a more successful entertainment of this kind has ever been given in this city. We no longer wonder that Boston sent forty thousand to hear them at the Hub."

"The Petersburg (Va.) Index,"--

"We do not hesitate to p.r.o.nounce Callender's Minstrels the superiors in this line to any we have ever seen. They far outreach the usual small range of excellence, and leave their rivals far behind."

"The Philadelphia Inquirer,"--

"So great was the rush to see them, that the sale of tickets at the box-office had to be stopped half an hour before the performance. They are unquestionably excellent."

"The Philadelphia Record,"--

"It is estimated that at least one thousand people were turned away from the box-office last night, unable to obtain tickets or entrance, so great was the rush."

"The Cincinnati Commercial" says,--

"They have drawn better houses in Cincinnati than any white troupe."

"The Brooklyn Eagle" says,--

"From first to last, all are absorbed in admiration."

"The Cincinnati Inquirer" says,--