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Famous Modern
Negro Musicians
PENMAN LOVINGGOOD
'Published by
PRESS FORUM CO. BROOKLYN, N. Y.
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Famous Modern
Negro Musicians
BY
PENMAN LOVINGOOD
BROOKLYN - NEW YORK
PRESS FORUM COMPANY
1921
Copyright 1021
byPenman Lovinggood
press forum company
brooklyn - n. y.
FOREWORD
A volume of this kind must of necessity be limited
in it's inclusion. It does not claim to be universal in
consideration, nor all-inclusive.
That the Negro Musician lias reached a point at
which he needs to be chronicled needs hardly to be
contended, since the trend of the moment, both pro¬
fessionally, and other-wise, is to give him further re¬
cognition, where further recognition is due. On the
other-hand that the younger Artist does not receive
more encouragement might be traced, to some extent
to the fact that the sentiment toward the older Artist
and Musician has not been sufficiently crystalized.
A book of eulogy it is, never-the-less, one of fact,
with the ultimate racial evolution in Art as the fore¬
most consideration.
Again we say, that, no claim is made to exhaust¬
ive biographical note, nor universal consideration. We
merely set forth, that those here included are famous,
and likewise Modern Musicians.
P.L.
SAMUEL COLERIDGE-TAYLOR
This Crowning musical genius was born in London
in 1875 of Anglo-African parentage. His father was
a medical student in London, and an under-study of
one of the leading physicians of that great Metropolis.
His mother was an Englishwoman of fine taste and
developement. Notwithstanding the objections of the
family and friends she persisted in her regard for the
native doctor and married him.
When Samuel Coleridge-Taylor was five years of
age, he was discovered, by Col. Herbert A. Walters
in a facinating game of marbles, with a small sized vi¬
olin under his arm. This so impressed Col. Walters
that he decided to investigate the home-life of this in¬
teresting lad. This he did; and after a consultation
with his mother, he decided that the lad should be gi¬
ven a musical training. Thru the influence, of Col.
Walters, he became a student at the Royal College of
Music, where he studied violin, piano-forte, and com¬
position. His Professor, at the Royal College, in com¬
position was Sir Charles Villiers Stanford.
He began composing from the very start of his
FAMOUS MODERN NEGRO MUSICIANS
Royal College experience; and befoie lie had left Coll¬
ege he had attracted the serious attention of the mus¬
ical world, by the quality of his work in composition.
His first success was the Ballad in A Minor, for
Orchestra. This work was composed, at the request
of the Committee, of the Three Choir's Festival, thru
the influence of Sir Edward Elgar; who had been re¬
quested to write something for the Festival, but on ac¬
count, of other work, in which he was then engaged
it was impracticable for him to comply with the re¬
quest. He at once suggested Coleridge-Taylor. In
suggesting Coleridge-Taylor, he characterized him, as
"far and away the cleverest fellow going, among the
younger men."
The commission also required, that the composer be
present to conduct the the work at it's premier. This
composition was received with such enthusiasm, and
it was conducted so successfully, that a new, and great¬
er value now rested upon all his subsequent works.
His next creation, "Hiawatha's Wedding Feast"
was one such as to greatly broaden his claim to fame.
Difficulties of text appealed to him, as during his
SAMUEL COLERIDGE TAYLOR 3
Royal College days he had shown especial aptitude for
strange words and rhythms. The presentation of this
work was attended with such genuine approval that he
was constrained to add to it "The Death of Minneha¬
ha," and "Hiawatha's Departure," and also an orches¬
tral Overture. The Overture however did not become
an integral part of the triology.
Following his natural ability for linking odd sub¬
jects to musical settings; he next brought out 'The
Blind Girl of Castle Cuille,' and 'Meg Blare.' 'The
Atonement' his chief essay into the field of oratorio
is a fine work upon the subject of the Crucifixion.
A fortunate item in his whole career was the ab¬
sence of the petty jealousies that are frequently indul¬
ged in by musicians. He had the distinguished co-op¬
eration of such men of standing as Sir Edward Elgar,
Sir Hubert Parry, Sir Authur Sullivan, and Sir Charles
Villiers Stanford.
In 1904 he made his first visit to America. He
had for a long time corresponded with various repre¬
sentative people here, and he always expressed a de¬
sire to visit the United States. This wish was gratifed
when in 1904 he was guest of the S. Coleridge-Taylor
Choral Society in Washington, D. C. and conducted
-a presentation of "Hiawatha." He made in all three
4 FAMOUS MODERN NEGRO MUSICIANS
visits to America, the last of which was to conduct
the "Wedding Feast" at a Choral Festival of the
Iyitchfield County Choral Union, Norfolk ,Conneticut, at
which festival Mme. Alma Gluck was Soprano Soloist,
and he had the support of a full chorus, and a sym¬
phony orchestra from New York City.
Returning to England he was kept exceedingly
busy in the role of adjudicator at many choir contests,
and in the closing years of his career these duties
were so numerous as to almost exhaust his physical
powers. It was just after returning from a contest of
this kind that he was stricken fatally.
Coleridge-Taylor's works comprise 83 opus num¬
bers in the larger forms and numerous songs and
smaller gems. He was a prolific writer and he burn¬
ed his vital energy up in successive musical creations.
His techique was inexhaustive and his dramatic pro¬
pensities and musical perception were unerring. The
Coleridge-Taylor harmonies are very strikingly individ¬
ual, and even more so are the streams of inspiration
which he pours upon his subjects and the subtle co¬
incidence of the joining of the text and the music.
He stands immortally with the Masters; and is the
greatest Negro Musician. Fired with the spirit of Mo¬
zart and the underlying rhythmic instinct of his native
SAMUEL COLERIDGE TAYLOR
race he carved for himself and for his race a place a-
mong the Masters of the Art. In statue he stands a-
breast men of modern laurels such as Edward Mac-
Dowell, Sir Edward Elgar, Edward Greig, and Moritz
Moskowski. He was pre-emently an individualist, and
for his own race the musical liberator.
He died in Croyden in 1912 of overwork, and
nervous debilitation; dying early as most men stirred
with the ambition for accomplishment and blessed with
a genius for creative work. The English nation mourn¬
ed his passing as of one of her most worthy sons; but
in the hearts of the darker people's of the civilized
world the chord of sympathy resounded to the final
moments of this great man who felt the heart-pulse of
his race so nobly and also so thoroughly. Passing
at the age of thirty-seven; too young to die; he sum¬
med up a life of strenuous activity and purposeful ef¬
fort. A few hours before he died he raised foward on
his death-bed and in an imaginary concert hall before an
imaginary orchestra he conducted his last tone poem.
This man did more for the race musically than any
other, He set the pace far in advance of his time. He
wrote for posterity, and filled a void which had exist¬
ed before his time. Like Beethoven his music lives.
He is, and will remain for us the one and only, the
first and foremost Samuel Coleridge-Taylor.
HENRY T. BURLEIGH
Mr. Henry T. Buri/bigh was born in Erie, Penn¬
sylvania, and at an early age showed musical tenden¬
cies. Prominent Artists played, at home, for a wealthy
music lover, of Erie, and, on one occasion he stood out¬
side, in the snow, and listened, in rapt attention. When
music was to be the order, of the day, upon subsequent
occasions, he was permitted, to open the door for the
guests, and in this manner he heard the best music,
which meant so much to the impressionable lad.
In New York he entered the National Conserva¬
tory, which has been frequented, by so many persons
of importance, in the growth of music in America.
There he also ingratiated himself, into the good favor
of persons, who could help him much. He did cleri¬
cal work, such as addressing envelopes, and mailing
cards, for Mrs. Mac Dowell, mother of Edward A.Mac-
Dowell, and thus came into contact, with the guiding
influence, and beloved parent, of another of America's
great musicians.
His talents were many. He played tympany in
the symphony orchestra, and became directly aquaint-
6
HENRY T. BURLEIGH
7
ed with the principal orchestral scores. He studied
piano-forte, voice, theory, and composition. His bari¬
tone voice was such, that his major efforts were then
directed toward his forth-coming career, as a baritone
soloist, and even he, perhaps, was not fully aware, of
the triumph, that awaited him, in the province of
composer. He sang as if inspired; so thoroughly cultured
so absorbingly musical, as he has always been, he sang
his way, into the recognition, of public, musicians,
press, royalty, and withal, held in reserve another side
of himself, which was to reveal itself, and have him
proclaimed America's greatest Art-Song writer, and
the American Negro's foremost composer. We should
not leave his career, as a singer, without remarking
that, had Henry T. Burleigh never written a song he
would still, far and away carry the highest honors of
our musical compeers. In fact, so well is he known as
a singer, that many very reluctantly relinquish this as
the claim, for his highest honors. Mr. Burleigh takes
this view himself, of long continued work, as a singer.
Mr. J. Pierpont Morgan was exceedingly fond, of his
singing, and the large congregation, at St. George's in
New York, where Mr. Burleigh has been soloist for
many yeais holds to him as a gem, too priceless to re¬
linquish. Likewise, the people of the Temple Emmanuel
8 FAMOUS MODERN NEGRO MUSICIANS
of Fifth Avenue holds steadfastly, to Mr. Burleigh's
services. King Edward, of England acclaimed him,
and his own people clamour for his appearance. This
experience as a singer would, alone, justify the claim to
pre-eminence; but, when all the stories of his experience
as a recitalist, and Concert Baritone are related, the
twentieth part of the real Harry T. Burleigh has not
been told. We have always held, that the creative
genius transcends the interpretive artist, and a people
who have 110 art creators have no hope of permanency
in art. The genius in H T. Burleigh, not only moved
him to this realization, but it gave scope to an inate
dramatic propensity, that could not be lost, to the lit¬
erature, of the race's musical treasure. Who is not
arrested, by this peculiar dramatic trait, on hearing Mr.
Burleigh's music? He has gone, from achievement to
achievement. He started out with "Jean." The mus¬
ic world was struct, facinated, won, by this first vent-
ture of his. He called it just a little thing done be¬
tween his exacting duties, as Church and Concert Sing¬
er. But the public saw more; something new; an ele¬
ment, that was more than just of the ballad type. It
is best termed the 'Art-Song,' and Harry T. Burleigh
has done much, to perfect this kind of song in Ame¬
rica. Authoritive ones have admitted he is the fore-
HENRY T. BURLEIGH
9
most writer, of tlie Art-Song-, and his subsequent re¬
sourcefulness has substantiated their superior judge¬
ment. After "Jean, " has come Art-song, after Art-
song. " In the Wood of Finvara," " The Grey Wolf,"
"Three Shadows," " The Saracen Songs," "Passionale,"
and many, many others. Mr. Burleigh is also on the
Editorial Staff, of G. Ricordi and Co., of New York
City, and puts in a strenuous day, in the copious
rooms, of Ricordi.
The full stature of Henry T. Burleigh has not per¬
haps, been extended into the minds, of the people of
some remote communities; altho he is known far and
wide, his true worth will, perhaps, not be fully realiz¬
ed, until subsequent years have brought the added
glow which accompanies the achievements, of the
world's brightest, and most potent workers. Surely
the work of this man has brought the music of the
race more and more, into it's own. His work with
the Negro Spiritual has been a devoted and masterful
achievement, which has electrified the minds, of the
music lovers of many races, to the full beauty of the
music of this his own people.
The exceptional culture, of this man and musician
has carried him into the most exclusive circles, and
has won for him the respect, the honor, the love, and
IO FAMOUS MODERN NEGRO MUSICIANS
esteem, of the best people, of both races, in America,
and of the people of prominence abroad.
Mr. Burleigh has a very engaging personality, is
well-versed in subjects other than musical, and is an
authority, on matters of musical import.
The style of H. T. Burleigh has become a thing
of such unique charm, that one need only hear a few
bars of a composition, to be transported, into the spirit
of the truth of his work. The harmonic fabric of Mr.
Burleigh's compositions are indeed revelations, and
likewise, they are a forbidden measure to players un-
aquainted, with various structure of the unusual har¬
monic relationships. Mr. Burleigh has grown so stead¬
ily, as a composer, that to an increasing number his
career, as a singer appears to have served mainly, as
a stepping stone to larger achievement. He it was
who was destined to perfect the Art-song form, in our
midst, and to become pre-emenent in it's use.
In New York Mr. Burleigh is held to be the syn-
osure of artistic epaulette, and will be found in exclu¬
sive circles. His worth is felt where ever the full val¬
ue of art is appreciated. The English have a Cyril
Scott; the Russian has Rachmaninoff; in France we
hear of I^eo Delibes. To America has been given the
singular art of Henry Thacher Burleigh.
R. NATHANIEL DETT
Mr. R. Nathaniel Dett our most characteristically
racial composer, who has ellicited much favorable
comment and recognition, is a writer of unique attain¬
ments, and has had a varied experience, in .the rise to
his present position, in the Nation's music life.
He has risen steadly because of a large resource of
talent, and again because of a decisive ability, to stick
to certain lines and principles, which, as aforesaid, are
distinctly racial; and he has won by these methods a-
lone.
This well-known composer also arose from humble
beginnings. Dr. John Ross Frampton, often, when re¬
ferring, to the possibility of one's rising, from obscurity
to great success, uses as an illustration Mr. Dett's sing¬
ular rise to prominence. Mr. Dett first came before
Dr. Frampton's notice, when he was in Niagra Falls,
N.Y., in the capacity of elevator operator. Dr. Framp¬
ton's attention was called, by a number of his friends
to the ability of a young coloured man, in Niagra
Falls; and upon hearing him he was convinced, and
it was decided that he should take courses at Oberlin.
When he had completed amplified courses, in the
12 FAMOUS MODERN NEGRO MUSICIANS
special subjects, of theory, piano-forte, and composition,
he went out to Chicago. Madam Hackley was brought
into notice of his work, at this time, and her efforts
were added to those of others of influence in behalf of
the rising musician. He was appointed Musical Direc¬
tor at Hampton Institute, which post he holds at the
time of the writing of this book, and his presence there
is valued most highly, by both faculty and student
body.
Mr. Dett has at various times captured a number
of prizes; among these is a concert grand piano, and
first honors for his piano-forte playing, in a competi¬
tive contest, by one of the large piano manufacturers
of New York.
None of our composers has been busier with
his favorite work. He has produced music, which has
shown a progress, that it is encouraging to review.
Among the Choral numbers are "Listen to the
Lambs," "O Holy Lord," "Music in the Mine," and
many others. "Listen to the Lambs " is, in itself
a masterpiece of part-song writing, and is rated with
the most ambitious works of other than racial compos¬
ers. His piano-forte music is as engaging, and portays
an intuitive instinct for the music of this instrument.
Among these are included the "In the Bottom Suite"
R. NATHANIEL DETT 13
which encludes "Night," "Honey," "The Bacarolle,"
and "Juba Dance." and the "Magnolia Suite," which
encludes "The place where the rain-bow ends," "Mam¬
my, "and other beautiful pieces. "Juba Dauce" is a
perfect specimen of the moving spirit of the Negro
Dance form, and sets forth the possibilities in this part¬
icular field. It is a most happy inspiration. Mr. Grainger
the eminent Pianist has adopted it for his recital pro¬
grams and has made a phonographic record of it.
Mr. Dett's harmonies are indeed his very own, and
reveal the poetic vision of a true son of the Mother
race. He has an abundant technical reserve and his
ideas are of an attractive order.
His success has come early in life, and much
clever work should yet come from his pen.
Mr. Dett has also given attention to the origi¬
nal melodies, and folk tunes, and numbers among his
arrangements such charming numbers as, I'm so glad'
'Paid my vow to the Lord' and other very fine sett¬
ings.
He has as companion of his home, and his art the
former Miss Eloise Smith, formerly of the Martin-Smith
School of New York; herself a very fine pianiste, and
an accomplished Artist, and this Union now has the
joy of a young child to make the Dett circle complete.
14 FAMOUS MODERN NEGRO MUSICIANS
Mr. Dett's work constitutes one of the most faci-
nating chapters of our music writers. It is potent with
the very spirit of our people. He is unaffected, unas¬
suming, and is the very essence of artistic finesse.
He numbers among his staunch friends such nota¬
bles as Mr. Percy Grainger, Ex-President Taft, and
many others of prominence in our nation's varied life,
and activity.
He is one of the most well-known composers of
the race, for there is to be found in his music much
that is native to all, who are conversant with the nat¬
ive idiom, together with that individual strain that a-
wakens interest, and more than interest for the people
have learned to love these pieces.
Mr. Dett is a student of classic, and contemporary
literature, and from this source will doubtless subse¬
quently come a larger offering in the classic form for
which our music literature yet languishes.
Mr. Dett has done much to make of our music
the thing of beauty that it is to-day.
J. ROSAMOND JOHNSON
Mr. Johnson is a composer, who has the capacity
for writing very exceptional music, and is one of the
famed brothers, who have contributed so much to our
musical and literary life. These accomplished writers
have won for themselves an enviable place in the in¬
tellectual and artistic life of the race. Mr. James Wei-
don Johnson is a Poet and Journalist of distinction.
Mr. Rosamond Johnson the composer is a well-
spring of facinating melodies, and his insight into the
weaving of harmonies, in which to encase these beaut¬
iful melodies is indeed illuminating. His moving style is
always graceful, and the very heart-beat of a lover
enters into the music of his songs.
In the golden days of the Negro Music Comedy,
when our genius for the musical play was in the as¬
cendency of it's brief-winged flight; when we experi¬
enced such dancing as Aida Walker did; then was the
trying ground and the evolving period of such perren-
ially happy composers as Mr. Rosamond Johnson.
The team of Cole and Johnson was for many years
one of the leading musical producing groupes in the
States, and the efforts of these co-workers were given
16 FAMOUS MODERN NEGRO MUSICIANS
the consideration, which was due such clever work in
the field of Opera Comeque.
Since Mr. Johnson has left the field of production
he has held responsible posts in other phases of the
music life of his people. He was for many years the
head of the Music Settlement School, of New York
forstered by wealthy persons who are interested in the
race's musical welfare. His most successful work in
composition has been done during this time.
Succeeding the numerous scores for the plays of
Cole and Johnson he has sent forth such delectable gems
as "I told my love to the roses," "Morning Noon and
Night," "Since you went away," "The Awakening,"
and "A Song of the Heart." The song last named was
dedicated to Mr. David Bispham, who was Mr, John¬
son's teacher of singing.
He has composed many Choral works among these
"O Southland" has received more recent favor.
This Composer has the native spark of his people's
love of the beautiful, and an individuality, which re¬
veals the beautiful in ways that are distinctly original.
We all love the music of this delightful writer of
songs, which are true wine of our own vintage. They
are, it seems, spontaneous as the water in the valley
springs; and are refreshing as a drink at these founts
J. ROSAMOND JOHNSON
17
of transparent happiness. Turn from the measures of
even the programed effective masters of the emotions
who paint in heavy and vivid colours, upon the canvas
of tonal effects; to the radiant measures of "I dreamt
that you were a rose, that grew beside a lowly way,"
or "My heart is a golden Instrument," and know a-
gain what it means to sing; to sing with an over-flow-
ing joy, and the love of a pulling, throbing heart, that
is to the life of one in love what the laws of Newton are
to space. Folk would indeed fly off in ways, and ways,
but the love of someone anchors us here, and we sing
of our love, and we sing of our dreams, which are not
welcome, if love comes not.
Some one once said to me : ' 'how does he think of
such beautiful music?" I would answer here: that he
does not only think these beautiful strains into place.
These are given to the elect by the Muse that gives
thot to genius, and by love, which is the light of all
Art, and love and the Muse go hand in hand 'till the
work of the artist is done.
The art of the music writer is a subtle art. It
deals with emotions, impressions, and those finer sent¬
iments that are in the very striking of a chord, and ex¬
pressed adequately, only by those writers who are a-
tuned to the infinite qualities of a universally agree-
18 FAMOUS MODERN NEGRO MUSICIANS
able expression of musical content.
More than any other workers in idealistic material
a musical composer is called upon to show the most
subtle handling of his basic materials, and to effect a
convincing work thru the medium of correlated sound,
and chord constructions. Of course, in this task in¬
spiration is paramount, as it has been proved again and
again, that a commanding knowledge of the construct¬
ion of chords, and theoretical ground-work is valueless
without talent and inspiration.
Promethius secured from the mount of Olympus
the brand that gave to mortals warmth and the power
of successive ignitions, and passed it on to his forbears.
This musical insiration is pregnant with the fire of true
genius, which is the sum total of the numerous pass¬
ing on and forward of the lighted torch of artistic faith,
truth, and perception, to the best of the sons of the
race which is ours. We have been fortunate in our
many modes of musical and poetic offerings. Dunbar
is ever best in his cheerful poems, and amusing dialect.
A joyful composer and a especially musical one is
this ever charming, always tuneful, and inimitable
J. Rosamond Johnson,
WILL MARIAN COOK
Genius like the recurrent seasons has many ways
of showing itself. The subject of our present chapter
js a genius, and this genius has given evidence of it-
sslf in a number of ways. Bora with an ability for
playing the violin, he studied this instrument abroad,
and mastered it's technic. Having more than the in¬
terpretive vision he mastered theory a:id form.
The career of this well-known musician has been
varied and kleideoscopic in it's extent, and has brought
to him honors, that bare testimony of the powers of
the artist, and carry the stamp of true worth.
He is now best known by his compositions, aud as
others have done he has turned to the folk spirit for the
insentive for his work. "The Rain Song" is in the
native strain, as is also "Swing Along," which is as
good an example of this kind of song as we have en¬
joyed. "Exhortation" is a native sermon upon the ad-
visbility of being cautious, also of being careful. It is
a kind of composition that lingers with one. Such
closely woven harmonies, as are found in the latter
part of it. The parts linger on a plaintive, decidedly
characteristic strain, that is unsurpassed in it's beauty.
It serves beautifully to remind us, that our vast hope
2o FAMOUS MODERN NEGRO MUSICIANS
of success lies in the fact that, we have a race con¬
science, without which the whole fabric might be lost
in the sea of nonentity. Nations succeed very much as
individuals do, in which developement a distinct type
is necessary, and a working principle to fashion it's
course. In the larger sense we have developed a mus¬
ical language of our own, that is of surpassing beauty.
Nothing has done more to awaken this conscious¬
ness than the music of the Negro composers.
Again take that exquisite little song "Mammy."
Whose heart has not leaped up on hearing it played
or sung? It is the expression of the heart-throb of
a whole race in the fervent love of those who give
themselves in body and strength that we might be a
race.
The recent tour of the New York Syncopated
Orchestra, brought much favorable commendation.
Mr. Cook was revealed as a Conductor, in which
role he is much at ease. This organization toured the
the United States, and England and brought additional
laurels to it's Conductor, and it's founders.
In this composer we have personified the reality
of the cherished spirit of the Southern Cradle Songs.
Will Marian Cook has made the race literature
richer by his worthy contributions to the whole.
WILt MARIAN COOK
21
He was long associated with the Clef Club of New
York, and is loved and honored by all the men of the
New York musical organizations, as a man of large
sympathy and fellowship toward the members of these
respective organizations. His ability as a symphony
orchestra player is equal to that of any Concertmeister
in any of our symphony orchestras. It is this exhaus¬
tive ability and the great lack of opportunity that at
times have made him pensive and misunderstood upon
occasion. Surely he lives music ! A more ideal rend¬
ition of Brahms' Hungarian dances I have never heard
at any time, than his own orchestra succeeded in ac¬
complishing under his vivid leadership. There are
musicians, that seem to have a magic touch. Such
an one was Paganini. Elements in the make-up of some
individuals seem to be contageous, when the possessor
chooses to use it, to hold a power of entrancing his
hearers at will. This quality we find often in those
who had an early aquaintance with the violin. Early
Paganini was known to have posessed this quality.
Wieniawski was a seeming magician, and had a person¬
ality that thrilled, awed, and astonished. Ole Bull
practically by force of a temperment alone thrilled
three Continents, with simple melodies drawn from an
uncanny instrument with strings, and a soul. Will
Marian Cook's aquaintance with the instrument would
22 FAMOUS MODERN NEGRO MUSICIANS
seem to explain his skill, in rhythm, nuance, and
magnetic manouvering far from hackneyed ways. One
forgets the structure, form, and style of the piece and
is conscious only of delight in the pure, unalloyed
movement.
So sensitive a nature could not help being serious¬
ly affected by the hardness of musician's lot, especially
of one who held within him such talent as this man.
It is by his musical compositions that we know
him best; but the almost tragic significance of the full
account of it, and the part that seemingly causes most
seriousness is the absence of media by which his great
symphonic ability might be utilized, and the dearth of
material by which his full measure as a leader might
be taken. The Syncopated Orchestra was an agreeable
entertainment, and worthy to receive laudation; but
Will Marian Cook was looking far beyond the Synco¬
pated Orchestra, when he raised his baton in the Ac-
demy of Music. He was looking into the faces of a
hundred men; men of brown and of native hue, who
were playing a symphony of a new World and a new
race; with intimate strains from the old inter-woven,
and the members of this orchestra were of the race
of Will Marian Cook, while the actual players he had
before him were just a few.
Thus goes the story of one of the race's greatest
musicians. Tragic, facinating, truly inspired is the well
beloved, and incomprable Will Marian Cook.
CARL R. DITON
Mr. Diton one of our most virile composers is a
native of Philadelphia, and a disciple of Mr. Constan-
tine von Sternberg, and the Sternberg School of Music.
Mr. Diton early embarked as a player of the pia¬
no-forte, in which capacity he toured the Southern
States, and the East. Realizing a hope of foreign
study the good people of Philadelphia, thru the influ¬
ence of Madam Hackley, came forth in benefit, and
aided in the project of giving this promising musician
European experience.
Mr. Diton's broader study was done in Germany
a most fortunate fact, because it has imparted the firm
ground-work of musical sincerity and solid worth and
and has given one more real musician to be numbered
among our artists. Mr. Diton shows his German train¬
ing. His inclination is toward the weighty musical fare.
Mr. Diton is not over-fastitous, again one of his
worthy qualities. Music embraces virility as well as
the eternal feminine. In Germany the musicians are
virile, which is, perhaps, what makes music there, the
thing it ought to be, a part of the every-day life of
the people of all classes.
24 FAMOUS MODERN NEGRO MUSICIANS
This composer has taught in some of the larger
schools of our land, and has written music also. His
compositions have come forth in agreeable succession.
While engaged in teaching in Texas he composed a
symphonic work, which shows an aptitude for work in
larger forms, and thru the press of the leading Music
Publisher we have received some work in smaller cast
that have been well received. Among them an Organ
Fantasie on "Swing low Sweet Chariot," which work
was played at the Willow Grove Concerts, by Wasilli
Lepp's Symphony Ochestra, at which time Mr. Diton
was present and in the audience.
A Choral arrangement of "Deep River " has atract-
ed much notice.
Mr. Diton is Organist of the Saint Thomas Church
of Philadelphia, and divides his his time between the
music of the Church, composing and teaching.
In the music life of Philadelphia Mr. Dition occu¬
pies a place of pivotal prominence, as also in the Nat¬
ional Association of Negro Musicians his spirit of re¬
serve, and thorough-going method is one of the salient
parts of this promising movement.
The type of musician that we have in Mr. Diton
is valuable in the Art any nation. Among the Amer-
ian Negro musical adherents such work gives a tonic
CARI, R. DITON
25
effect, in the manner of revitalizing the race's musical
stamina, and giving that added sturdy element, with¬
out which music of any groupe will grow more or less
insipid. Many of the offerings of the current French
School are distasteful, by reason of insipid manner of
treatment, and a drifting toward luke-warm femininity,
with the lack of a virile quality, which would be a
savor in the tuneful porage. Mr. Diton's personality,
and Mr. Diton's music conform to this sterile quality,
that is likewise very evident in the race to which he
went to learn the art of music. No trace of caddish-
ness is evident in the work of this early disciple of C.
v. Sternberg. The land of Listz and Hay den, Beethoven
and Brahms breathes masculinity. The weaker sex in
fact has had little to do with the developement of
music in the homeland of the Masters. Women first
achieved recognition in composition in France, and the
works of Chaminade, and De Hardelot are beauties of
rariest quality ; in Germany music is a man's art. Or¬
ganists, Choir-Masters, Orchestral players, and Com¬
posers are men. The women inspire and are the aud¬
ience. The great Wagner's many loves were always the
occasions for his most inspired work. We are thank¬
ful that the women of Germany gave way to motives of
inspiration, and the patroness role, as also we are glad
26 FAMOUS MODERN NEGRO MUSICIANS
that France gave birth to Chaminade and De Hardelot.
Mr. Diton has passed thru the plain of experience,
and has seen the vital flow of his people's life and art.
For this work he has prepared himself well, and creat¬
ive effort reveals more and more the pure gold of the
native musical mine, and well-spring.
The compositions of Carl Diton have gone into the
catalogues of the leading Publishing houses. They are
sane, well-conceived ,and would seem to promise a kind
of music-writing that we will welcome as a strong pil¬
lar to our solid structure. In his work we may find
some promise of a meditative writer, as a Brahms a -
mong us, whose harmonies appear like a copious plush
hanging, and a rich tapestry; weighty, but beautiful;
copious, but of harmonic sweetness. Such an one we
have indeed hoped to see in vanguard of our Music
writers. A promise of the fruition of this hope some
are indeed hopeful to behold in the Philadelphia Or¬
ganist and composer of the "Deep River Fantasie "
Carl Rossini Diton.
ROLAND W. HAYES
born in Georgia; educated at Fisk, it was as a
member of the Fisk University Jubilee Singers, that
Roland Hayes first attracted attention as a singer. He
was heard, by a wealthy enthusiast of Boston's music
loving groupe, who decreed, that he should have fur¬
ther musical training. This further training he receiv¬
ed from the distinguished teacher of singing, Mr.
Arthur J. Hubbard tutor of many successful singers.
Mr. Hayes has worked hard, and gone far, in the
Ail of Song Interpretation, and in the demonstration of
what can be done when one has a passion for accom¬
plishment, and a desire for attaining the summit of the
professional high-water mark.
The Race has rejoiced, that in the evolution of
this singer there was a patron of means to make a
way for exhaustive training and proper presentation.
His earliest presentation as recitalist was in Symphony
Hall, Boston before distinguished critics and public, in
which environe he has frequently demonstrated his art
on subsequent occasions.
The rise of Roland Hayes has extended over a
comparatively short term of years, during which he
has risen steadily to the present position of foremost
28 FAMOUS MODERN NEGRO MUSICIANS
recitalist of his race.
The actual worth of Mr. Hayes' performance is to
be found in his complete devotion to the perfecting of
his work, and his untiring effort, in making his pro¬
grams interesting. In this particular there are none to
excel him. These qualities added to the natural tem-
bre of his voice, and breadth of his training makes
him an artist of superior attainments.
The singular qualities of racial appeal have been
meaningly kept in his voice, and a strong element in
his successful appeal is directly traceable to these qual¬
ities.
In the singing of mezzo de voce passages his voice
is of singular beauty, as it is again in cantilina, and he
has the forceful utterance necessary for more dramatic
phrases. Voices we have heard, which were perhaps
brighter, and some as pleasing in certain types of songs
but for a voice that fits into it's own peculiar style
and that pleases in it's own peculiar way there are
none that out-distance the tenor Roland Hayes.
This exceptional tenor has won wide recognition.
His position today is practically what an artist would
desire. He has made money and he has made hosts
of friends.
He thrills with the fire of his love for eloquent
art works, and is always his very in the songs of his
ROLAND W. HAYES
29
native race. Much that he has done is classed in the
same category as the work of the best concert makers
in America.
The last fifteen years has seen the growth of a
concert system in America, that is vast in extent of
territorial expanse. Mr. Hayes by a judicious system
and ready adaptibility, as well as a good management
has compared favorably with the most successful con¬
cert artists. He is hailed as his race's greatest singer.
Indeed, his work is of a finished smoothness, and a
healthy quality that recommends him well for these
signal honors.
The vast amount of work that he has § done, and
the incomprable manner in which he has accomplished
it is in itself a feat of great magnitude.
When we first heard Mr. Hayes he was singing
an exceedingly fine bel canto. It was singlar in it's
beauty. He has gone thru transition after transition
of variety in interpretive manner, but has ever held
the singular charm, that is in itself the soul of Roland
Hayes.
He has recently appeared in England with admir¬
able success, the plan of this European tour includes
other parts of the old world, and Africa.
It is within Mr. Hayes' province to do many
30 FAMOUS MODERN NBGRO MUSICIAN
praiseworthy things. While in England he was present¬
ed with a diamond ring, by the King and the Queen
for whom he sang.
His success proves the power of presistance, of
faith, and vision, and points the way to greater a-
chievement.
He embraces all the elements of the successful
Concert Singer, and has received favorable criticism on
both sides of the Atlantic.
Like all successful Artists, Mr. Hayes works hard
and long at a time, and amazes those, who happen to
know of the length of his very strenuous and long
engagements.
The American Nation is proud of the achievement
of Roland Hayes. Prominent mention is given him in
the leading Music Journals, and the Daily Press of all
fair-minded American Communities.
He arose to a position of power, and usefulness
by his untireing devotion to Song, and by his unfal¬
tering attention to business.
All Hail! the well - known tenor, and the succeed¬
ing years should yet reward Mr. Hayes with further
laurels for his excellent work in Song interpretation.
FLORENCE COLE-TALBOT
Florence Cole-Talbot is our foremost colorature So¬
prano. Mme. Talbot has had a colorful, and interesting
career in the Music World. She has toured with one
of the Jubilee Troupes, that went out from Chicago,
and has more recently come into her own province as
Soprano Soloist.
Mme. Talbot's exceptional training was received
at the Chicago Musical College, where she was award¬
ed a Gold Medal, for most excellent vocal work, and
the honor of appearing, with the Chicago Symphony
Orchestra, as Soloist.
Mme. Talbot's career has been an exemplification
of the truth that experience is truly the best teacher,
and her subsequent triumphs have proven again the
value of application tempered with head, and heart in
overcoming difficulties.
She has appeared before vast audiences of both
races, and has held a true standard of excellence thru-
out.
Her programs are composed of the best music,
and what is best in vocal art. Her vocal culture is
the result of long training, and she portrays the skill
of a:t in singing.
This Artist brings to her work also, a broad re¬
source of individual talent.
32 FAMOUS MODERN NEGRO MUSICIANS
Many trans-continental tours, and successive ap¬
pearances have made this diva's name a household
word on this Continent.
Mme. Talbot's especial work lies in the realm of
the coloratura, and in the essentially lyric styles. She
is supreme in this kind of song, and in her own way
she presents them with naive effect, and charming suc¬
cess.
She views h«r calling, with seriousness, and has in
her career, contributed much to the elevation of our
recital courses.
The demand for Mme. Talbot's services is such
that her engagements follow each other in rapid suc¬
cession.
We have heard her at numerous times, and in
various places, and always she is gloriously herself,
and constantly brings forth more that is excellent.
In culture, beauty of expression, and a winning
personality Mme. Talbot is one of the most engaging
figures upon our Concert platform today.
As a patron of what is new in the Art this Singer
has gone into the new literature, and other sources, and
has given programs, that interest music-lovers every¬
where.
The progress of her work has commended her equ¬
ally with the beauty of her singing, and the superior"
FLORENCE COLE-TALBOT 33
manner, in which she has held forth, from season to
season.
A truly great Artist we are pleased to behold in
Mme. Talbot, and the praise that wall ultimately ad¬
here to her very successful career will be, not alone
for the beauty of her singing organ, but as well for
a superior mentality, which combines the new and the
beautiful,with the old, revered, and classic; and for a
culture, that sees more in Art than mere sentiment.
Toward a broader culture Mme. Talbot has
labored, and her own career has been an exemplifica¬
tion of normal growth along these lines.
To Spain it's Patti; to Afro-America it's Florence
Cole-Talbot.
CLEOTA J. COLLINS
Cleota J. Collins is the foremost Dramatic Soprano of
her race, a race of lyric singers.
In the classification of lyric and dramatic singers
opinions always differ. Some classify according to the
tembre of the vocal organ, without really considering
natural tendencies, temperament, and training. A more
trustworthy way has been the one determining what
style of songs one gets into best; that is gets under¬
neath the surface of the song, for adequate, and in
fact really superior interpretation of the song. Is it in
the romantic song of the lyric style, in which the be¬
autiful pearl of sentiment is revealed? Is it in the
tense climax of a dramatic scena where tense feeling of
suspence, and fervor of action holds one gripped in it's
moving power ? Most successful Concert Singers sing
both kinds of songs, but by reverting to our original
consideration, of what style of songs fit our singer best
we are able to determine whether we have in consider¬
ation a lyric or dramatic singer.
Miss Collins sings dramatically, by both temper¬
ament, and training. Her contact with Mme. Lila
Robeson of the Metropolitan Opera Company has awak¬
ened the spirit of Music Drama in her which naturally
FAMOUS MODERN NEGRO MUSICIANS 35
would seem to have been in existence before. The
ability to sense a climax, and the almost enherent in¬
stinct to look for one is an unswerving indication of
the true dramatic tempennent. It is more than lyric
diction that holds her audiences charmed It is a bit
of insight into the situation, that prompted the wedd¬
ing of the music and the poem that gives to her the
power of control.
Those who have heard Rosa Raisa know that in
many ways she is the greatest Soprano of all time.
Those who hear Cleota Collins will know that this
spirit unites to make Miss Collins the greatest dramatic
Soprano of her race.
Cleota Collins was born in Cleveland, Ohio. Her
father the late Reverend Ira A. Collins was a minister
of high intellectual attainments. Her mother Mrs.
Lucy A. Collins was a very cultured woman of great
beauty, with a love of elocution.
Her singing voice was discovered by her father.
He was one day attracted by someone singing in the
yard outside the Church. From the window he saw
Cleota bowing to an imaginary audience and returning
again and again in response to imaginary encores.
She began her musical career in the Church Choir.
She studied at Ohio State University, taking courses in
CLEOTA J. COLLINS
36
Public School Music, Theory, Appreciation, and the
History of Music.
She has taught Music in the South, at Florida
Baptist College, and at Samuel Huston College. Austin,
Texas.
She- was, never-the-less, ambitious for achievement.
Her voice even then was a gem of purest ray serene.
Experience, and further training, in hands of the Mas¬
ters was the imediate goal of her dauntless efforts.
Two wealthy ladies, friends of music, and admirers
of the fortitude of the courageous young woman now
came foward and aided her in the obtaining of her life's
dream. Mrs. Harvey Goulder, and Mrs. S. E. Ferris
were benefactors. Miss Collins with becoming grati¬
tude has always proclaimed, that she owes her success
to the generosity, and kindness of Mrs. Goulder, and
Mrs. Ferris.
Her entrance into the New York music life was
an early triumph in her career. She was introduced
as a full-fledged Artist, and she wore this toga so in¬
comparably, that she was in a short time recogized as
one the race's leading Singers.
This Singer has a personality. She is a personali¬
ty among personalities. One to whom success would
come in most any line of endeavor.
FAMOUS MODERN NEGRO MUSICIANS 37
Her very considerable achievement has occured in
a brief period of five or six years, to this the time of
her wide popularity. During this glorious period of
her career she has listened to the promptings of a
sure guiding intelligence, and faith of her advisors,
who saw possibilities above her own cherished hopes,
and the probability of her present acheivement.
The demand for her has become such that her
seasons are filled with engagements in advance.
Miss Collins is also on the Editorial Staff of our
most beautiful and instructive Art Journal "Music and
Poetry."
In Miss Collins we have a true Singer of the new¬
er order. The work of this Artist goes far toward
the establishing of the new Negro in clearer light of
thorough-going critical judgement.
MARIAN ANDERSON
Miss Marion Anderson, the Contralto is the young¬
est Singer of first rank among us. She is one of the
most phenomenal, both in the rapidity of ascent, and
in the excellence of her perfomance.
She is a native of Philadelphia, and is loved by
the Philadelphians so that it is more than home to
her but beloved guardian and patron city as well.
A bit of analysis will enter into our consideration
of Miss Anderson.
In the investigation of voices of singers science
has revealed, that amplitude of emission is dependent
upon a relative amplitude of the vocal organ. After
an investigation of some two thousand throats of sing¬
ers it has been recorded that Enrico Caruso had the
most ample, and the most perfect throat yet brought
under investigation. Thus artistic judgement is verifi¬
ed by scientific research.
Without the aid of science at hand we readily
venture the assertion that Miss Anderson posesses
the most perfect vocal organ in itself in the race.
FAMOUS MODERN NEGRO MUSICIANS 39
To add to this exceptional organ Miss Anderson
has fine musical ability. Mrs. Agnes Riefsnyder her
teacher, in Philadelphia, is herself a wonderful Con¬
tralto, and she has given Miss Anderson a broad know¬
ledge of it's use.
She gives forth a prodigality of voice and tone
that is unmatched in it's warmth. For a time she
was so continually filling engagements that it was nec¬
essary to commandeer her time for the best interests
of her work, and her career.
Her musical career began when she was a Sunday
School girl in the Union Baptist Church. Her voice
attracted the attention of the musical people, and she
was given an opportunity to develope her unusual
talents.
The vogue surrounding this Contralto's work and
following began here in the East principally, and has
extended thru-out the music centers of the Nation.
No singer is more lauded than she. The principal part
of her singing has been to her own people, and they
have thoroughly appreciated her.
She sings in various styles, and has a strong dra¬
matic tendency. One might crave the opportunity of
hearing her in music drama.
MARION ANDERSON
40
In accord with her brilliant record we are ready
to acclaim Miss Anderson in other parts. We have
heard her sing the "Messiah," which is admirably
suited to her, and in smaller pieces she forms a con¬
tact with her hearers that is hypnotic in nature.
She started out with pieces of the ballad type,
and the short songs, which she did with great credit;
the great ease and control charming all who heard.
She has added the operatic aria, and the classic art
song, and her growth has been full and normal. Full
maturity has added polish to the pure gold of her
youthful voice.
Her public has praised and has sung her triumph,
and ardently comes to her praise again. Her hold upon
all lovers of the Art will be continually intensified by
the talent and art which is hers.
A truly great Contralto we see in Miss Anderson,
and one of whom America needs justly to be proud.
WILLIAM H. RICHARDSON
Mr. William H. Richardson the baritone is a musi¬
cian, who has seen much of the musical taste and life
of our people. In capacity of Recitalist he has aided
in the movement toward better music. In joint work
with Mme. Maud Cuney Hare, he has presented the
folk song, the classic, and the modern art songs in
their best light and form.
Mr. Richardson received his training in Boston,
center of music and musicians, his particular art is
directly traceable to this training received in Boston.
The music culture of Boston, though not the exuber¬
ant, and super-abundant quality of some Eastern com¬
munities, is never-the-less of a kind that well warrants
it's renown as a center of culture.
Mr. Richardson is essentially a recital singer. He
fits into the recital program, and his work will be re¬
membered for this particularly.
We have heard him at many times, and in var¬
ious places and his singing always gives the impression
FAMOUS MODERN NEGRO MUSICIANS 42
of one who is seriously engaged in the perfecting of
true artistic interpretations.
Like many others of our singers, Mr. Richardson
has traverst the musical centers of the nation, and has
appeared before the select and elect, and the rank and
file of our music-loving populace.
Mr. Richardson's is a manly voice, which portrays
all the qualities that come from manly efforts. He
also sings songs of a delicate texture, which are no less
pleasing. The pathos of Negro music demands peculiar
vocal nuance, and Mr. Richardson posesses the charac¬
teristics for singing the songs of his own people.
Mrs. Hare in lecture programs lays emphasis on
the peculiarities of different kinds of native music, and
Mr. Richardson illustrates that which pertains to song.
The importance of the lecture program cannot be
too highly regarded, especially in hands of such com¬
petent Artists. This kind of entertainment should be¬
come yet more and more popular, as a part of the ac¬
tual education of the young people, and edification of
the older ones. They are sources of inspiration that
lead to later day results. They are sources of educa¬
tion that lead to further introspection. They are re¬
freshing when properly done.
WILLIAM H. RICHARDSON 43
Mr. Richardson has stood the test of long concert
work, and has in midst of these exacting requirements
purified the flow of his highly agreeable tone, and has
amplified to full measure his tonal resourses. The
baritone voice quite contrary to the general opinion is
a difficult voice to sing masterfully, because the great
warmth and breadth of tone that is required. One
needs only to hear Titta Ruffo, or Straciarri to be con¬
vinced of this fact. Mr. Richardson's is nothing short
of the standard renditions of these Artists.
Musicians of Boston hail this Baritone and his ac¬
companist heartily, when they come forth in recital
preparitory to their going on tour.
The Nation has acclaimed this baritone, and his career
is sybolic of the modern musician's attitude to his
Art and to his calling.
JOSEPH H. DOUGLASS
Mr. Douglass was the first violinist, of our own Afro-
American groupe to tour this Country, and gain recog¬
nition, as a violinist of national fame. He is the grand¬
son of Frederick Douglass, and bears a striking resem¬
blance of the famous Orator, and Statesman.
Mr. Douglass came upon the stage, when our
field of Art was still a virgin one. He early brought
talents with him, that were a credit to him as a musi¬
cian. His playing revealed the touch of the real mus¬
ician.
To audiences of the time of my own childhood,
Joseph H. Douglass was an idol. He typified the up¬
ward strivings of a race in the field of violinistic art.
His playing was inspired. He united a brilliant
technique, and a musicianship that was true. His
programs combined excellence, with a kind of magni-
tism, which gives his hearers real satisfaction.
Mr. Douglass' playing carried with it a sense of
poetry, and bordered on those fanciful regions, where
JOSEPH H. DOUGLASS
45
dreams are made. His style was especially reminiscent
of the works of Sarasate, and the fanciful School of
violin playing. He carried his own temperamental a-
tributes, and the tinder lying spirit of the music that
he played, into an alliance, by which he profited.
He has held very responsible teaching position in¬
cluding the Violin Department at Howard University.
This famous Violinist posesses an instrument of
rare make and value. It was presented to him, at early
age, by his Grandfather the Hon. Frederick Douglass,
on this wonderful gift he has played his way into the
hearts of his people, and to fame.
He is today one of our foremost musicians. The
place he holds in the hearts of thousands of our music
lovers will remain pre-eminently his own. He held a
justly appreciated high standard of efficiency, in a field
especially difficult, and in a manner quite unique by
his quite temperamental, and graceful playing of the
violin.
He very gracefully headed our own violin-playing
groupe in America, making possible larger achievement.
This gave to him an enviable place artiong our music¬
ians.
FAMOUS MODERN NEGRO MUSICIANS 46
Mr. Douglass has recently taken charge of the
Orchestra, of one of the new, and largest theatres in
the District of Columbia, and the city of Washington.
In securing Mr. Douglass the management has taken
a long step foward in the obtaining of high class mus¬
ical performances.
The theatre orchestra has, in a few years, become
the medium for bringing the best music to the people.
Our orchestras are in line, in this movement. Musi¬
cians of the kind that Mr. Douglass is, when placed
in leadership of our orchestras will lend vitality to the
movement, for better music, in' connection with the
theatres.
Mr. Douglass is today, in that afler-glow of prof¬
essional eminence, wherein the joy of the thing ac¬
complished is vivified by the length of a brilliant ser-
ice. He stand today in the assurance of a life fill¬
ed with import, bearing the proud distinction of
being first Afro-American Violinist native born in the
U. S. A. to obtain International distinction. An¬
other signal honor is his bearing of the name, and being
in direct line of descent from the father of his Race
the illustrious Frederick Douglass.
CLARENCE WHITE
Clarence Cameron White, brilliant American Violin¬
ist, received his early training at Oberlin Conservatory
of Music, which is in Ohio, and supplemented this
with several years of training abroad. He was a
pupil of the Russian Violinist, M. Zacherewitch, and
a pupil in composition of the late S. Coleridge-Taylor.
During the comparatively short time that has elaps¬
ed since Mr. White's return from Enrope, he has at¬
tained, without any sensational advertising, and while
still a young man, a notable place among American
Artists.
Mr. White has attained eminence, not only thru
the possession of the natural talents, that unquestion¬
ably are his, but as well because he has an unbound¬
ed capacity for hard work, and intelligence necessary
to guide that work in the right direction.
Mr. White is also decidedly a musician. He has the
tact for building interesting programs. In playing he
unites an admirable technique, and a beautiful tone
singular for it's breadth, fire, and delicacy of expres¬
sion.
He puts into his concerts a continuity that makes
them especially notable for this particularly.
FAMOUS MODERN NEGRO MUSICIANS 48
He has a jovial personality, and bears the dis¬
tinction of having, at his immediate command more
witty sayings bearing upon the profession itself than
any other musician we have the pleasure of knowing.
This jovial personality has won him the distinction of
being known thru-out the Country as "Smiling Clar¬
ence White."
Mr. White has attracted a wide notice by a num¬
ber of compositions he has given to the press. In
these he is naively interesting, and displays an ability
for writing music of quite an attractive order.
In the past few seasons these violin compositions
have been featured on the programs of the great vio¬
linists, such as Fritz Kreisler, Mayo Wadler, Zachere-
witch, and others. During the season of 1920-1921
the "Bandana Sketches," were presented in Ochestral
form, in Symphony Hall, Boston, under the leadership
of M. Agide Jacchia.
He is yet considerably a young man and his creat¬
ive work is well conceived, and mnch should yet follow.
In the musical and social circles of Boston, Mr.
White holds justly a high place, and he has won the
friendly regard and consideration of both the musical
CLARENCE CAMERON WHITE
people of his own race, and of the white race also.
Mr. White has difected the Orchestra, and 'mus*
ical score of ~44 The Open Door," a most excellent
Pageaut, depicting the literary, and educational devel-
opement of the race, which the Atlanta University
has fostered and produced, in most of the large cities
of the East. The musical-numbers of this Pageant
are among the principal contributors to it's success;
and Mr. White's energy and ideas are vitally associat¬
ed, with these successes.
The first Chicago Convention of Negro Musicians,
which led to the establishment of the National Associa¬
tion, of Negro Musicians; was- initiated and begun by
the joint effort bf the distinguished Violinist,; and Pro¬
fessor Henry Grant, of Washington, D. C. tn this
movement, of which Professor Grant was first President
Mr. White has had wide influence, and his efforts have
been far-reaching.
Mr. White is recognized by the musical people of
both races, as one of the race's greatest musicians.
Surely none are broader in outlook, and technical re¬
source. His musicianship is based on a knowledge of
both piano-forte and violin, and his theoretical training
FAMOUS MODERN NEGRO MUSICIANS 50
was gained from S. Coleridge Taylor, which is the
strongest possible commendation.
Mr. White is successful, because he also has bus¬
iness ability, and his various works ire placed so that
they receive the consideration due to them.
In Boston artistic circles Clarence Cameron White
Stands high, and in the regard of intellectual people
all over our land.
Mrs. White is a fine accompaniste, and aids " him
often in this capacity.
.*:■ The figureofthis Violinist stands before us illu¬
minated by tfae: true, light of musical sincerity.
Mr. White's work adds worth and color to our
musical concourse, and violinistic arena.
KEMPER HARREL1
Kemper Harrell is head of the music department
of Morehouse College, Atlanta, Georgia. He is also
one of our leading violinists.
He studied in America, and then further amplified
this by European experience.
Returning to his native la*id, he went into the
concert field, with headquarters in the city of Chicago.
In his recitals tbru-out the country Mr. Harrell
has demonstrated the capacity, for unifying a fine
technecal ability, with an art ideal that is convincing.
His performance shows devotion to art, and what
constitutes the legitimate artist.
The instrument is his natural mode of musical
expression. He goes about his work with an enthus¬
iasm, that makes his efforts count much for the ad¬
vancement of native talent, where it is found in sup¬
er-abundance.
He has formed orchestras at Morehouse College,
and has given performances of leading works, \ »th
FAMOUS MODERN NEGRO MUSICIANS 52
prominent Soloists.
He is perhaps engaged in a work, that will yield
fruit, of a kind, that will help to advance the musical
taste, of the race. To take the genuine enthusiasm,
into the provincial centers, and there to hold forth
with ever renewed energy is by no means a small
task, and «uch teachers, as Mr. Harrell deserve much
credit, for their part, in this kind of work.
American music, like the music of other countries
flourishes in the large cities first, and radiates to the
provincial districts. But it does not flourish in full
splendor, until reinforced by the provincies from whence
come some of the most brilliant workers.
Atlanta is in some respects quite unique, though
in the very heart of Georgia, it is a very bee-hive
of Negro Schools, and Colleges. Atlanta University,
Clark University, Morehouse College, Spellman Semin¬
ary, Morris Brown University are all situated in Atlan¬
ta.
Mr. Harrell in this of concourse of student life
has advanced the musical appreciation, and interest in
the community.
In this work of musical developement, his talent
KEMPER IIARRELL
53
as Director of Choruses is hardly less prominent,
w
than his ability, with the instrument. In fact his
fame, in this particular has spread with rapid strides.
Combining choruses from various Schools, he has
given performances that do credit to Atlanta, as a
center of race culture, and reveal his prowess as at
Director.
The field in which Mr. Harrell finds himself 1$
a large and important one; rich with undiscoved tal¬
ent, and overflow* with the real spirit of community
welfare, and the real folk spirit.
In such environment has developed, and will con¬
tinue to evolve much of the best that the race pro¬
duces musically.
EUGENE MARS MARTIN
An Eminent Philosopher went thru the streets of an
Ancient City crying: "Eureka! Eureka! I've found it!
I've found it!" We say here of the subject of our
present chapter, that at last a true genius for the
Violin nasi been found among us
The term genius has been used much, in these
days of superlatives, and sepeculation has been rife as
to the true significance of it. Some have called it an
infinite capacity, for hard work. We use it here to
signify &n inherent insight into, and an ability for
doing a certain kind of work exceptionally well.
Violinists are born, not alone developed, thru study
and hard work.
Study the life of any of the great weilders of the
bow, and those individuals, whose very lives are a
happy adjustment to the instrument; in fact get be¬
hind their family life, and learn how not only they
have wished to conquer the instrument, but that it has
been an absorbing passion of their predesessors also.
FAMOUS MODERN NEGRO MUSICIANS 55
It so happened in another case, that a very good
tenor in Bonn, Germany, could not reach above his
own shortlived heights; but his son, a Ludwig Van
Beethoven became the King of tone poets.
The violin technec of Eugene Martin should b« 9,
source of inspiration to all, who know of him. That
a lad ©f his age should play as he does makes hi
hearten for the broad stretches of the future.
He has fire in abundance, which is constantly being
refined, and at each successive hearing his insight into
the art of the thing has grown, we find.
No greater proof can be brought forward, as to
the necessity, of parents thinking of their children
early, and guiding them successfully, than the effeci-
ent guidance of David Martin over his talented child¬
ren.
This boy surmounts technecal difficulties, with an
exuberance, and apparent ease, that banishes the thot
of care. The heart leaps up, when it beholds the fitt¬
ing adaptibility of a young man for his instrument.
Here we have talent that will go into the depths
of the world's violin classics, and proclaim the ability of
EUGRNE MARS MARTIN
56
the Negro, to interpret the Masters. Master-works
were composed, for master performers, and we shall
piace our claim, with that of Hiefetz, Hubermann,
Siedel, and Kriesler, we shall hear matchless themes
brought forth, and our own race shall be givien the
opportunity to say something in the language of the
immortals themselves.
The Famous prodigies, of recent times, have fulfill¬
ed the artistic promises of their youth. They are to
be found to-day • among the leading torchbearers of the
fire in-extinguishable.
■. .This young man is to-day fulfilling his earlier art¬
istic promises. In his work and developement the Vi¬
olin portion of our groupe has made, a step forward.
R. AUGUSTUS LAWSON
The instrument of Beethoven, Chopin, and Liszt hag
has not been neglected among us, especially at the
hands of such a remarkable artist as Mr. R: Augustus
Lawsori.
Mr. Lawson is'a product of that time " honored
"Patroness ©f Art, and land-mark of Culture* Fisk
University, of Nashville, Tennessee. He is far. „and
away the greatest Pianist we'have among us. He i&
rated with the'best players of the Nation, and for
clearness of style, and finish he is the peer of any
player in the country-
His playing is Chopin-like in his delicate spinnings
of melodic lines, and alertness to movements of tempo
is a marked attribute: to the success of his playing.
Mr. Lawson's. playing is of that type» that runs
into the realm of- true poetry, that transports one out
of the thot of scales, appeggids, thirds, and octaves,
and transplant him into an elevated state of being.
Th« feeling' of monotonous effort never enters into
any part of his work.
FAMOUS MODERN NEGRO MUSICIANS 58
He bas been twice Soloist with the Hartfort Sym¬
phony Orchestra, and his successfnl renditions at these
concerts- have placed him in the front rank as an ex¬
ponent of piano-forte music.
The Fisk University is justly proud of Mr. Law-
*0n and his work, as his work adds copiously to the
high standard of music there, and his connection there¬
with renders her claim to fame doubly sure.
Mr. Lawsen'a art is not too frequently heard by
his own people. However the position into which his
talent has brought him makes it more than right that
the utmost recognition should be accorded him.
He teaches in Hartford, and between teaching
and concert appearances, in New England he finds
time occasionally, to edify those of us, who happen to
he in the storm-centre of musical happenings, and are
looking foward to what is foremost in our music life.
The art that Mr. Augustus Lawson purveys is the
pure gold of musical sincerity. When it is weighed
with true understanding, it is found to be metal of a
kind too infrequently found. We fam would hear Mr.
£,awson's brilliant piano-forte playing more frequently.
R. AUGUSTUS LAWSON
59
The Violin has been termed the most difficult of
instruments, and yet the piano-forte, with all it's mul¬
titudes of color effects, and intricate combinations of
of harmonies would seem to be as difficult. Surely
the piano-forte has a magic all it's own. The limpid
chords of the deadened petal effects, and the crashing
-harmonies of the double forte take in a vast compass
of feeling and color. Some of the most immortal of
all musicians, as we mentioned before, such as L,istz,
Beethoven, Chopin, have risen to fame as masters of
this instrument. Among the high lights in the musical
firmament they shine most brilliantly.
Mr. Lawson our own fore-runner of our piano¬
forte virtuosi is highly endowed with the spirit that
makes the masters live, and we hail him to-«lay our
own giaat of the key-board.
HELEN E. HAGAN
From the French School of piano-forte playing
we have already welcomed an Artist that gives ex¬
pression to the best tendencies of that great school.
Miss Helen E. Hagan is of New England origin,
and stndied at the Music School of Yale University,
from whence she was awarded a Scholarship, for ex¬
cellent work in completion of the alloted course, and
the composition of a Concerto, with Orchestral accom¬
paniment. So creditable was this composition, that it
was the cause of wide comment in musical circles,
and won for her the chance for study in France.
Her playing in Concert has verified the verdict
of those, who awarded her the especial honors of her
College days.
Miss Hagan continued her studies at the Paris
Conservatoire, and she has imbibed the spirit of France
in a way that mofcrs her playing impressive for that
particular reason.
FAMOUS MODERN NEGRO MUSICIANS 61
There is an element of romance in htr playing,
and a certain play of the emotions, that brings one to
the thot of fair France and her rose blooms.
During the recent World War Miss Hagan went
faithfully to the service of a Country she had already
learned to love, and showed devotion not alone to her
own America, but to that fair land, where the Arts
are pre eminently alive.
Miss Hagan's position in our music life might be
compared to that of the famous Maid of Orleans, who
would not see defeat in her countrymen's strivings,
and failings, and in Miss Helen Hagan we behold our
own Jeanne D'Arc of the piano forte keyboard.
Her playing reveals not merely a feminine tem¬
perament, but in her climaxes she transcends the
merely feminine.
We have heard her in a performance of the Con¬
certo, which won for her the prize at Yale. The im¬
pression was one of admiration.
Following the close of the War Miss Hagan took
up her residence in Chicago, where she was hailed as ft
a distinct addition to the music life of that great City.
HELEN E. HAGAN
62
Her studio was in the exclusively artistic center.
This Pianist has the distinction of being the first
pianist of colour to appear in Aeolian Hall, before the
famous New York critics, and public. She appeared
in a program of difficult works, that some of critics
thot wotild tax the powers of the most veteran Artist.
She made a most favorable impression on this occasion.
She has more recently married Dr. John Taylor
Williams, of Morristown, New Jersey.
Tliru-out the country Miss Hagan is known as
an Artist of superior powers, and attainment.
MELVILLE CHARLTON
Mr. Cliarlton, our most famous Organist, is a resi¬
dent of Brooklyn, New York.
His Academic training was received, at the Coll-
ege of fUe City of New York. His piano-forte train¬
ing received i:i New York also. He completed a
course in Choir training under the famous Chorister
of Grace Church, New York, Mr. J. M. Helfenstein
and in competitive examinations he won a'' scholarship
at the National Conservatory. . His Organ instruction
was received from Mr. Charles Hienroth, the Musical
Director and Organ Reclta-list, at Carnegie . Hall, Pitts¬
burg, Pa. „
Mr. Charlton holds the degree of A. A. G. O.,
( Associate of the American Guild of Organists. )
Lj hid activities he is Organist of the Jew-
IcsBpij o# Nc^Ywk.
Ctnrtt«t»*9 playing of Bach, the critics
ftvwnWe com neut, and his recitals
&rg t*?st H classic aad modern music.
FAMOUS MODERN NEGRO MUSICIANS 64
Mr. Charlton's own composition, the " Poem
Erotique " is beautifully inspired music, and it
shows the hand of a real craftsman, in musical art-
forms. This piece is not only in the classic style, but
it portrays much of color and interest developed along
approved lines, which fact is very much in Mr. Charl¬
ton's favor, and indicates that he is a sane writer as
well as an interesting one.
- In the Ballroom of the Hotel Waldorf-Astoria of
Ne^ York, Mr. Charlton has conducted Operatic per¬
formances, for the patrons. At these performances
tnj|ny noted singers were engaged Mr. Charlton con¬
ducted/ in a manner that evoked the approval of the
*New York critics, and added again to his large list of
successes. The Operas presented were " 111 Trovatore
and " Martha, " with singers of Boston, and Chicago
Operatic circles.
In an article on Organ playing Mr. Charlton has
written his substantial iileu,, to the effect that an Or¬
ganist must necessarily be a thorough musician. When
one's musical equipment does riot enclude*a know¬
ledge Theory, Composition, and form, much is lost to
any musician.
MELVILLE CHARLTON
65
We of American origin are indeed proud of the
achievement of Mr. Charlton. He has proven that
one can be an American, and a Negro and become
a necessity in the music life of an American commun¬
ity, unrestricted by the limitations of color or class'
distinction. He traversed a road direct to the first places
in our land. These triumphs have not come easily^
He has worked hard and long and has attained a high
degree of efficiency. Persevereuce has crowned his
efforts, with success, and he is known far and wide
not alone as the foremost Negro Organist, but. as one
of • America's foreniost musicians.
E. AZALIA 1ACELET
We have already mentioned, in connection with
the careers of many of our best musicians, how that
Madam Hackley has been a benefactor to them, in
the role of patroness, and seeming fairy god-mother.
A more unselfish Artist it will be hard to find any*
where.
Madam Hackley has given her whole career to
the advancement of Negro Music, and to the^discovery
of Negro talent.
In the days of her concert singing, she was our
ttost brilliant soprano, and she posessed an art thac
sraa filled with the spirit of the true bel-canto*singi«g
«tyle. Aa a patroness of the Arts, and an organizer of
Negro folk spirit, and as Director of Music Festivals
Madam Hackley will long hold place, in jourf hearts
•nd min da.
Madam Hackley has staged festivals, from East to
West. With her illuminating personality, she has
FAMOUS MODERN NEGRO MUSICIANS 67
tlrawu forces together, from widely varying sources,
and has played upon these forces in ways that are
truly her own, bringing the Negro folk-song into a
more engaging light, and raising it further in the
hearts of the heirs of the creators of this beautiful
music, as well as in the hearts of the white people
of our country.
Madam Hackley belongs to that school of Artists
in which Nordica, Melba, and Bernhardt are found.
Dynamic personalities, with super-abundance of talents
and strength to carry on.
When this Artist was a recitalist her lectures then
fore-told the importance of her efforts in the field into
w'lich she has later carried her talents A woman' of
broad vision we think in writing of her of the career of
the late O-car Hammerstein. Like personalities of his
type, Maiam Hackley had visions, that are now being
fulfilled.
To o ie, who has had the pleasure of hearing one
of Madam Hackley's Festivals of native song, come?
R. AZALIA HACKLEY
68
renewed faith in the possibilities of the race.
Those who know Madam Hackley personally
give testimony of her constant devotion to her work,
and superior energy in the accomplishment of it.
No History of the Music of the Negro will ever
be complete, without an account of Madam Hackley.
Her efforts have done more for the race than any
other, in the field of Folk-lore, and the Music Festival.
HThe village idiot gaped so long at
the village grocer that that worthy
man became irritated.
ach j on the shoulder.
"I've got to kill you," he said, smil-
dy, j ing amiably, "You're homelier than
his I me."
he The stranger turned and looked at
ery the other for a full minute,
iter "Am I?" he said. "Then for good-
lite ness sake kill me!''
y
"Look here, "What
you starin' at? If
you can find a man
homelier than
yourself, kill him!"
The village idiot
went in search of a
man uglier than
himself, and one
day he found one.
He tapped him
■Vs