I have literally dumped so much information into this blog over the years until it's best to search the blog using the steps below. (This method as opposed to scrolling down to find a desirable topic). Because I am still adding to this blog (as of July, 2009), I've decided to try and combine all information -or most of it- from other blogs, and to put that information into this one. I won't be too careful to classify information, because keywords can be easily picked up using the search steps below).
So, my point is, if you are interested in a person, topic, subject, publisher, etc (mostly, although not totally music ---because this is a place for me to dump information that I run across and don't want to lose it forever!), then, type the term in the search field. For example, to find information about "Ethyl Wise", type either "Ethyl Wise", "Wise, Ethyl", "Wise" or "Ethyl" in the search field Then continue steps two through four.
If anyone has any other verifiable information about black music history, please send it to me by emailing me. While I won't include anything that anyone recommends, I'd like to know about anything that anyone wishes to share with me.
NOW, HOW TO SEARCH
1. Type name, term, or keyword (one word or all of them) in the upper left hand box (next to the orange symbol).
2. Press "enter"
3. Press CONTROL and F to get another search box.
4. Repeat step one in the new search box and press enter
Tuesday, July 7, 2009
Saturday, January 12, 2008
Defining Moments in Black History
CAPT George N. Thompson Commanding Officer/Leader
http://www.navyband.navy.mil/CAPTthompson.shtml
In 1990, Captain Thompson became the first African-American to be commissioned Bandmaster in the history of the United States Navy.
--------
"The Pittsburgh Courier" (8/25/34, page5, section1) says that Alton Augustus Adams "has the distinction of being the first... and only...colored bandmaster in the US...having served in that capacity for over 17 years...Born at St. Thomas in the Virgin Islands, forty-five years ago...under the sign of Scorpio...Began the study of music at the age of nine...had private teachers...and took a correspondence course in harmony from the University of Pennsylvania under Dr. Hugh A. Clarke."
DILL, AUGUSTUS GRANVILLE (1881-1956)
Augustus Granville Dill, sociologist, musician and Business Manager of The Crisis, was born in Portsmouth, Ohio in 1881. Dill received his B. A. from Atlanta University in 1906, and a second B. A. from Harvard University in 1908. Dill returned to Atlanta to receive his M. A. in 1908. It was during this second period in Atlanta that Dill became a student of W. E. B. DuBois. In 1910, Dill became an Associate Professor of Sociology after DuBois resigned his position to establish The Crisis, the NAACP's monthly magazine. In 1913, DuBois convinced Dill to join him as Business Manager for The Crisis. Dill worked for DuBois for 15 years, until 1928. After Dill's resignation, he never returned to teaching; his love for music and performing took precedence in his life.
Augustus Granville Dill's most important professional activity was his early involvement in the NAACP and The Crisis. Dill died in Louisville, Kentucky on March 10, 1956. Source: http://docsouth.unc.edu/church/morals/bio.html
DIXON, DEAN (1915-1976)
According to the African American Registry, Dean Dixon (b. New York City) "led the New York Philharmonic Symphony Orchestra as their first African American in 1941. In the following years, he was also guest conductor of the Chicago, Philadelphia, Pittsburgh, Boston, San Francisco and Washington D.C. Symphony Orchestras"
Source: www.aaregistry.com
Other references:
DIXON, DEAN
....Conducts his first opera, "Tales of Hoffman" (by Jacques Offenbach), Chicago Defender, 2/6/43
.....Interview. 2/16/43. LWO 5833 GR13 5A4 (see: Broadcasts)
DUNBAR, W. RUDOLPH (1907-?)
Source: http://theovergrownpath.blogspot.com/2007/04/berlin-philharmonics-first-black.html
According to an article published in "The Black Perspective in Music" (Autumn 1981), W. Rudolph Dunbar (1907- ?) was the first black man to conduct the London Philharmonic (1942), the Berlin Philharmonic (1945), the Festival of American Music in Paris (1945), orchestras in Poland (1959), and in Russia (1964), and the first to promote in Europe the compositions of black composers, particularly those of William Grant Still.
Other references -so far- from my own clippings file:
DUNBAR, RUDOLPH
.....British Guianan musician, conductor of top rank, Chicago Defender, 1/30/43
.....Invited to lead the London Symphony, Chicago Defender, 1/30/43
.....See also: http://www.bbc.co.uk/radio4/factual/pip/pp33t/
Joseph H. Dickinson
Joseph H. Dickinson was born on June 22, 1855.
He attended school in Detroit MI, and began working for the Internal Revenue Service at the age of fifteen. By the time he was seventeen years old, he obtained a position with Clough & Warren Organ Company. In 1880, he married Eva Gould of Lexington, and two years later formed the Dickinson-Gould Organ Company with his father-in-law.
This new company manufactured parlor and chapel organs. It also sent a large chapel organ to a New Orleans exhibition in order to demonstrate the progress African Americans in manufacturing. In addition, an organ he designed was awarded a prize at the 1876 Centennial Exposition in Philadelphia, Pennsylvania.
Source: Richings, G.F. Evidence of Progress Among Colored People. Chicago: AFRO-AM PRESS, 1969.
http://www.navyband.navy.mil/CAPTthompson.shtml
In 1990, Captain Thompson became the first African-American to be commissioned Bandmaster in the history of the United States Navy.
--------
"The Pittsburgh Courier" (8/25/34, page5, section1) says that Alton Augustus Adams "has the distinction of being the first... and only...colored bandmaster in the US...having served in that capacity for over 17 years...Born at St. Thomas in the Virgin Islands, forty-five years ago...under the sign of Scorpio...Began the study of music at the age of nine...had private teachers...and took a correspondence course in harmony from the University of Pennsylvania under Dr. Hugh A. Clarke."
DILL, AUGUSTUS GRANVILLE (1881-1956)
Augustus Granville Dill, sociologist, musician and Business Manager of The Crisis, was born in Portsmouth, Ohio in 1881. Dill received his B. A. from Atlanta University in 1906, and a second B. A. from Harvard University in 1908. Dill returned to Atlanta to receive his M. A. in 1908. It was during this second period in Atlanta that Dill became a student of W. E. B. DuBois. In 1910, Dill became an Associate Professor of Sociology after DuBois resigned his position to establish The Crisis, the NAACP's monthly magazine. In 1913, DuBois convinced Dill to join him as Business Manager for The Crisis. Dill worked for DuBois for 15 years, until 1928. After Dill's resignation, he never returned to teaching; his love for music and performing took precedence in his life.
Augustus Granville Dill's most important professional activity was his early involvement in the NAACP and The Crisis. Dill died in Louisville, Kentucky on March 10, 1956. Source: http://docsouth.unc.edu/church/morals/bio.html
DIXON, DEAN (1915-1976)
According to the African American Registry, Dean Dixon (b. New York City) "led the New York Philharmonic Symphony Orchestra as their first African American in 1941. In the following years, he was also guest conductor of the Chicago, Philadelphia, Pittsburgh, Boston, San Francisco and Washington D.C. Symphony Orchestras"
Source: www.aaregistry.com
Other references:
DIXON, DEAN
....Conducts his first opera, "Tales of Hoffman" (by Jacques Offenbach), Chicago Defender, 2/6/43
.....Interview. 2/16/43. LWO 5833 GR13 5A4 (see: Broadcasts)
DUNBAR, W. RUDOLPH (1907-?)
Source: http://theovergrownpath.blogspot.com/2007/04/berlin-philharmonics-first-black.html
According to an article published in "The Black Perspective in Music" (Autumn 1981), W. Rudolph Dunbar (1907- ?) was the first black man to conduct the London Philharmonic (1942), the Berlin Philharmonic (1945), the Festival of American Music in Paris (1945), orchestras in Poland (1959), and in Russia (1964), and the first to promote in Europe the compositions of black composers, particularly those of William Grant Still.
Other references -so far- from my own clippings file:
DUNBAR, RUDOLPH
.....British Guianan musician, conductor of top rank, Chicago Defender, 1/30/43
.....Invited to lead the London Symphony, Chicago Defender, 1/30/43
.....See also: http://www.bbc.co.uk/radio4/factual/pip/pp33t/
Joseph H. Dickinson
Joseph H. Dickinson was born on June 22, 1855.
He attended school in Detroit MI, and began working for the Internal Revenue Service at the age of fifteen. By the time he was seventeen years old, he obtained a position with Clough & Warren Organ Company. In 1880, he married Eva Gould of Lexington, and two years later formed the Dickinson-Gould Organ Company with his father-in-law.
This new company manufactured parlor and chapel organs. It also sent a large chapel organ to a New Orleans exhibition in order to demonstrate the progress African Americans in manufacturing. In addition, an organ he designed was awarded a prize at the 1876 Centennial Exposition in Philadelphia, Pennsylvania.
Source: Richings, G.F. Evidence of Progress Among Colored People. Chicago: AFRO-AM PRESS, 1969.
Friday, December 21, 2007
Correspondence
COOLIDGE COLLECTION
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
COOLIDGE, ELIZABETH SPRAGUE
.....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
.....Letter from the Marian Anderson Citizen's Committee acknowledging Mrs. Coolidge's sponsorship of the Lincoln Memorial Concert.
DETT, R. NATHANIEL
.....Correspondence mentioning Dett. Moton Family Papers (Box 10, Folder 5: Manuscripts Division, Library of Congress). The report entitled "Executive Committee Report" is dated june 16, 1931. under section 2, the "Music School" section, it states that "Dr. Nathaniel Dett, after 18 years of service with the school has applied for a Sabbatical year with an increse of pay, his present salary being $4000.00 a year. President Howe explained that Dr. Dett was so lacking in cooperation and loyalty to the administration that it was adviseable to terminate his activities with the school."
DRA-MU OPERA COMPANY
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
HOWARD UNIVERSITY
....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
LINCOLN MEMORIAL CONCERT (MARIAN ANDERSON)
....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
OUANGA (CLARENCE CAMERON WHITE'S HAITIAN OPERA)
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
PERRY, JULIA (MUSIC DIVISION OLD CORRESPONDENCE)
.....Letter 1: 12/26/53 from Harold Spivacke, Music Division Chief. Perry wrote in to the Coolidge foundation to inquire about commissions. Letter 2:From Richard S. Hill to Perry sent to address in Florence Italy, 12/9/55. Perry asked general questions such as "How many universities have music departments? how may opera workshops in either colleges or universities? The responses will help her in giving lectures overseas. Richard Hill, Head of Ref Section at LC could not answer her questions. Letter 3: from Harold Spivacke dated 2/13/64 to Perry in New York. Perry wrote in wanting to change the name of a work (Mary Casty) and wrote to Spivacke for advice. Spivacke couldn't help her. Letter 4: From Julia Perry. She wanted to be considered for a commission. At this time, she's in a wheel chair, but she says in her letter "It is difficult to compose in a wheel chair but I manage". The letter she wrote was dated 11/25/72 and was answered by Edward Waters, who wrote back telling her that she'd be considered. Letter 5: Letter written by Edward N. Waters, Chief of the Music Division, to Perry in the Lakeside Hospital (Cleveland Ohio: 4/30/73). Expresses regret that she's hospitalized and informs her that the Music Division doesn't commission musical works. Letter 6: Julia Perry writes the Music Division on 4/6/73 continuously requesting to be commissioned. I suspect that she needs the money to pay her hospital expenses. The letter says, in part: "I have a tentative money amount (monetary amount to ask for) and a clear music project in mind. I must fulfill medical plans... I presume each hospital will charge $500.00, therefore, I include this amount as my check for the "Ballad for Orchestra" -a work that she is possibly due remuneration for. Waters wrote back saying that her situation is sad and he wished he could help, but it's beyond the Music Division's power to do anything further. This return letter was dated 4/16/73. Letter 6: A letter written on two half sheets of paper by Julia Perry(one in pencil and the other in pen). The penmanship was poor. Appears as if a right handed person wrote a letter with his left hand. She is writing from the hospital, and the letter is barely legible. It says in part: "Send additional $500.00 for my medical tests and treatments" ("excuse pennmanship"). Signed, Julia Perry, Lakeside Hospital.
WHITE, CLARENCE CAMERON
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
.....Letter from CC White to Fritz Kreisler (in Fritz Kreisler Collection, Box 14). A short thank you note.
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
COOLIDGE, ELIZABETH SPRAGUE
.....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
.....Letter from the Marian Anderson Citizen's Committee acknowledging Mrs. Coolidge's sponsorship of the Lincoln Memorial Concert.
DETT, R. NATHANIEL
.....Correspondence mentioning Dett. Moton Family Papers (Box 10, Folder 5: Manuscripts Division, Library of Congress). The report entitled "Executive Committee Report" is dated june 16, 1931. under section 2, the "Music School" section, it states that "Dr. Nathaniel Dett, after 18 years of service with the school has applied for a Sabbatical year with an increse of pay, his present salary being $4000.00 a year. President Howe explained that Dr. Dett was so lacking in cooperation and loyalty to the administration that it was adviseable to terminate his activities with the school."
DRA-MU OPERA COMPANY
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
HOWARD UNIVERSITY
....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
LINCOLN MEMORIAL CONCERT (MARIAN ANDERSON)
....Letter from Carolina O'Day (dated April 3) inviting Mrs. Coolidge to co sponsor an opera air free concert (by Marian Anderson) under the auspices of Howard University. The cocert would be held from the steps of the Lincoln Memorial on Sun, Apr 9 at 5:00 PM. She was asked to respond (collect) to Room 440 of the HOuse Office Building.
OUANGA (CLARENCE CAMERON WHITE'S HAITIAN OPERA)
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
PERRY, JULIA (MUSIC DIVISION OLD CORRESPONDENCE)
.....Letter 1: 12/26/53 from Harold Spivacke, Music Division Chief. Perry wrote in to the Coolidge foundation to inquire about commissions. Letter 2:From Richard S. Hill to Perry sent to address in Florence Italy, 12/9/55. Perry asked general questions such as "How many universities have music departments? how may opera workshops in either colleges or universities? The responses will help her in giving lectures overseas. Richard Hill, Head of Ref Section at LC could not answer her questions. Letter 3: from Harold Spivacke dated 2/13/64 to Perry in New York. Perry wrote in wanting to change the name of a work (Mary Casty) and wrote to Spivacke for advice. Spivacke couldn't help her. Letter 4: From Julia Perry. She wanted to be considered for a commission. At this time, she's in a wheel chair, but she says in her letter "It is difficult to compose in a wheel chair but I manage". The letter she wrote was dated 11/25/72 and was answered by Edward Waters, who wrote back telling her that she'd be considered. Letter 5: Letter written by Edward N. Waters, Chief of the Music Division, to Perry in the Lakeside Hospital (Cleveland Ohio: 4/30/73). Expresses regret that she's hospitalized and informs her that the Music Division doesn't commission musical works. Letter 6: Julia Perry writes the Music Division on 4/6/73 continuously requesting to be commissioned. I suspect that she needs the money to pay her hospital expenses. The letter says, in part: "I have a tentative money amount (monetary amount to ask for) and a clear music project in mind. I must fulfill medical plans... I presume each hospital will charge $500.00, therefore, I include this amount as my check for the "Ballad for Orchestra" -a work that she is possibly due remuneration for. Waters wrote back saying that her situation is sad and he wished he could help, but it's beyond the Music Division's power to do anything further. This return letter was dated 4/16/73. Letter 6: A letter written on two half sheets of paper by Julia Perry(one in pencil and the other in pen). The penmanship was poor. Appears as if a right handed person wrote a letter with his left hand. She is writing from the hospital, and the letter is barely legible. It says in part: "Send additional $500.00 for my medical tests and treatments" ("excuse pennmanship"). Signed, Julia Perry, Lakeside Hospital.
WHITE, CLARENCE CAMERON
.....Letter dated 10/1/50 from Clarence Cameron White (addressed to "My Dear Friend") in the Coolidge Collection -box 104. The letter invites the recipient to see "Ouanga" that is being produced by the Dra-Mu Opera Company in Philadelphia, 10/27/50
.....Letter from CC White to Fritz Kreisler (in Fritz Kreisler Collection, Box 14). A short thank you note.
Monday, December 17, 2007
Sheet Music /Music Covers
Note: Next to some sheet music covers, I enclosed the code "BSMC". The purpose is to be able to search "Black Sheet Music Covers" and to get only those covers that are by or about Blacks; which transcends African Americans. Also, BSMCI (Black Sheet Music Covers Illustrated). On the cover is a drawing.
If there is no call number by listed, the call number is M28
A & I STATE NORMAL MARCH
Nathaniel Davis
ALSTON, TOUSSIANT L'OUVERTURE
.....Let's go boys, let's go! M1646.A (BMSC)
AMERICAN PRESS MARCH
Michael Brand
ANACOSTIA (WASHINGTON, DC)
.....March Triumphal of Freedom,(1922) by Fulton B. Karr (author of the "Shandon Bells" Anacostia DC.) Sheet music cover, M28.K. "Respectfully dedicated to the boys of his home town of Anacostia, DC, who served their country and as a tribute to the memory of those who gave their lives in the great world war. by the author.
(AN ONLINE REFERENCE): DC-OLD-NEWS-L Archives
Archiver > DC-OLD-NEWS > 2004-12 > 1103650865
From: Jamie Perez
Subject: The Washington Post, February 2, 1896 - ANACOSTIA NEWS
Date: Tue, 21 Dec 2004 09:41:05 -0800 (PST)
The Washington Post, Sunday, February 2, 1896, pg. 11
ANACOSTIA.
Mrs. Samuel B. Lyon, wife of the superintendent of Bloomingdale Hospital, New York, was visiting at St. Elizabeths during the week.
The Geraldine Dramatic Club will give an entertainment, under the auspices of St. Teresas Branch of the Conference of St. Vincent De Paul, at Masonic Hall on Tuesday night.
The Ladies Aid Society of St. Johns Parish, Md., gave a sociable Thursday evening at the residence of Mr. John Kirby for the benefit of the church. The attendance was very large, a number of young people from Anacostia being present. Dancing was kept up till late, when refreshments were served. Those attending from Anacostia were Mr. Thomas Gray, Dr. William Green, Miss Schaefer, Mr. Joseph Hospital, Mr. Albert Richardson, Miss Mae Branson, Miss Nellie Leonard, Mrs. Emma Robey, Mr. Frank McLean, Mr. Louis Smith, Mr. Sanderson, Mr. William Jordon, Miss Martha Rose, Miss Gertrude Leonard, Miss Belle Gray, and Mr. John Kane.
Mr. and Mrs. H. A. Griswold invited a number of friends to meet Mr. Griswolds nephew, Mr. Harry L. Welles, of Connecticut, on Wednesday evening. Vines and ferns decorated the handsome parlors and refreshments were dispensed at the conclusion of the dancing. Among those present were Miss Florence Bowman, Miss Emma Lee, Miss Lucy Hollister, Miss Emma Bowen, Mr. Norman North, Mr. Warren Tolson, Miss Anna Lee, Miss Signa Guerdrum, Prof. Johnson, of the Eastern High School; Miss Alice Putnam, Miss Mildred Peck, Miss Theda North, Dr. William Green, Mr. William Jordon, Mr. Fulton Karr, Miss Luida Pumphrey, Mr. Maurice Haines, Mr. William Pyles, Miss Edith Pyles, and Miss Carrie Golden. The company was entertained with piano music, by Mr. Fulton Karr and also by Miss Pumphrey.
The much-discussed checker tournament opened on Tuesday night. All the competitors were present and the revised list of entries was announced, as follows: Dr. C. H. Weiss, Dr. J. A. Watson, Dr. R. H. Pyles, and Messrs. Charles Richardson, Meitzler, Payne, P. S. Quaid, and Prof. August Miller. It was decided that the three prizes to be awarded should consist of a valuable checker board and set of checkers for the first and second prizes, and for the third prize a manual on the game of draughts. It was agreed that every competitor should play twelve games with his opponent, until all shall have played against one another. The tourney then opened, and during the evening a number of interested citizens appeared to watch the play. On Thursday evening play was again resumed, and will commence again on Tuesday night. The record is as follows: Dr. J. A. Watson, per cent., .722; Dr. Pyles, .687; Meltzler, .687; Payne, .500; Dr. Weiss, .500; P. S. Quaid, .475; Prof. Miller, .2!
75, and
C. Richardson, .187.
Transcribed by: Jamie M. Perez jamiemac@flash.net
Trying to confirm or refute that CORNELIUS McLEAN SR. (circa 1774-Sep. 12, 1836) of Washington, D.C., was the uncle of WILLIAM McLEAN CRIPPS (1799-1876) of Washington, D.C, and, furthermore, that Cornelius was born in Staten Island, NY.
ARMSTRONG "TECH" HIGH SCHOOL MARCH (BSMC)
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
(ALSO: search Armstrong in American memory for additional references to the school, although not music references)
BACK TO LIFE (BSMCI)
Chas. Hunter
BALTIMORE AMERICAN
Charles P.Burton
BIGGERS BUSINESS COLLEGE SONG
.....Music Setting by Mrs. Jeanette D. Dyer (picture of Mrs Dyer on sheet music cover)M1959.B65W
....(Written inside sheet music: Poetess and Song Writer, Mrs. Lela M. Williams, after a visit to the "Biggers Business College", upon observation and inspection of this historical institution, and being thus inspired, wrote this song entitled, "Biggers Business College Song", and she, having credentials showing exceptional scholastic attainments, was chosen Program Director and Registrar of this business institution.
BILLBOARD MARCH
John N. Klohr (M1420.K)
BLACK COUPLE DANCING (BSMCI)
.....Cotton Patches. By M. R. Kaufman. M28.K
BLACK MAN SITTING ON PORCH (BSMCI)
.....Uncle Remus. Griffith Jones. M28.J
BLAKE, J. HUBERT (EUBIE)
.....See America First M1630.B (mss and published music)
BLAND, JAMES A (1854-1911)
.....In the evening by the moonlight. M1630.B
(Words and music revised and edited by Jerome H. Kanner at the direction of Irene Bland and The Bland Estate)
BOONE, RUSSELL (Band Director, Mississippi Valley State)
"I SHALL RETURN"
N. C. Davis
BOSTON GLOBE MARCH
A. Lawrence Burkman
BOSTON GLOBE 2 STEP DANCE GRAND MARCH
Edward Holst
BOSTON HERALD MARCH
Dave Fitzgibbon
BOSTON POST MARCH
EC Cary
BOSTON PRESS CLUB MARCH
Dave Fitzgibbon
BROOKLYN TIMES MARCH
John William Black
CENTURY MARCH (BSMC)
.....Joe Jordan. M28.J.
DRYE, FRANK L.
On sheet music cover of "Moton's Inaugural March)
Published by Frank L. Drye, Tuskegee Institute, Ala, 1916
----The sheet music was published in celebration of the inauguration of Maj. Robert Russa Moton as Principal of Tuskegee. Booker T. Washington died and Robert R. Moton became principal in 1916. On the sheet music cover is a picture of Moton, Washington, Drye and the Tuskegee Institute Band (about 40 all males)
Hampton University to Dedicate Joe Jordan Ragtime Jazz and Entrepreneurship Collection June 17
Hampton, VA - Hampton University will dedicate the "Joe Jordan Ragtime Jazz and Entrepreneurship Collection" Saturday, June 17 at 3 p.m. The ceremony will take place in the Peabody Room of the William & Norma Harvey Library on the HU campus and will be followed by a reception at 4:15 p.m. in the Hampton University Museum. The event is made possible through the sponsorship of Consolidated Bank & Trust.
"Our family is honored to make this donation to Hampton University," said Kimi Rabun, granddaughter of the late Joe Jordan and the mother of two recent HU graduates. "We are confident my grandfather's legacy will be preserved at Hampton and that the collection will provide an opportunity for public access to the origins of American jazz music."
"It was important to our family that a Historically Black University receive this African-American cultural gift and Hampton has become our new Home by the Sea," Rabun added.
A world-famous composer and musician, Jordan carried the distinction of being one of the richest African-American real estate entrepreneurs in the United States during the ragtime era. His priceless collection contains more than 600 items, including original manuscripts, sheet music, engraving plates, photos, private papers and books.
"Lovie Joe," created in 1910, proved to be Joe Jordan's greatest composition and musical success, according to Tim Samuelson, cultural historian for the City of Chicago. Jordan's other musical score of significance was "Siren of the Tropics," composed for Josephine Baker's "Folies Bergere in Paris."
"We at Consolidated Bank & Trust Company are pleased to be a participant in honoring Joe Jordan, not only a great artist, but also an astounding entrepreneur," said Joseph L. Williams, chairman of the board of Consolidated Bank Trust Company. "He and our founder, Maggie Lena Walker, both had a vision and a plan to implement the vision in a manner that greatly benefited their respective communities."
"Jordan was one of America's first Black millionaires and the J. Jordan building was the first major, Black-owned economic structure in the city of Chicago," explained Dr. Sid Howard Credle, dean of the HU School of Business. "That accomplishment provided motivation to other entrepreneurs."
Credle, whose efforts resulted in the Hampton University donation, was selected by the Jordan's family to be the official biographer of the musician's life story.
(ALSO): When he was 21, Jordan moved to Chicago. The next year, he wrote the Pekin Rag, dedicated to Bob Mott's Pekin Theater, Chicago's great African-American-owned theater and first of the many such theaters and vaudeville houses that were to sprout up across the nation. The Pekin also set the stage for Chicago to become the center of the jazz world between 1915 and 1925.
In the spring of 1905, Jordan was called to New York by Ernest Hogan. Hogan had organized a group of seventeen men and women--singers, dancers, and musicians--and wanted Jordan and James Reese Europe to help turn them into an all-African-American ragtime orchestra and write their music. When The Memphis Students made its debut, it was the first group of its kind to play in New York City.
CHICAGO AMERICAN
D.W. Godard
CHICAGO TRIBUNE MARCH
W. Paris Chambers
CINCINNATI ENQUIRER MARCH
Louis W. Brand
CINCINNATI ENQUIRER
B. Kleinbeck
CINCINNATI POST MARCH
By J.V. Jhio
CINCINNATI POST MARCH
John N. Klohr
CLEF CLUB GRAND MARCH (BSMC)
James Reese Europe
COLORED AMERICAN MARCH (BSMC)
James G. Clayton
COTTON PATCHES (BSMI)
.....M.R. Kaufman. M28.K, Black couple dancing
COUPLES PAIRED AND WALKING IN A LINE (BSMCI)
.....Sheet music cover. "Lucinda's Rag-time Reception March. John S. Hill. Cincinnati: Ilsen & Co., 1901)
CREOLE (BSMC)
Basile Bares
CREOLE (BSMC)
Madame Saint-Clair
DAFFY-DOWN-DILLY (BSMCI)
J. Lubrie Hill
(Black man sitting and playing a banjo)
DAILY POST
F. Fanciulli
DAVIS, NATHANIEL C.
"A AND I STATE NORMAL MARCH"
Nathaniel C. Davis
DOUGLASS' FUNERAL MARCH (BSMC)
.....Music by Charles G. Harris
DUNBAR HIGH SCHOOL MARCH
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
EVANS' GRAND MARCH
.....Dwight W. Godard. Published by the Aurora Daily Beacon (Aurora, ILL: 1893)
EVENING STAR
.....F. Fanciulli.
EVENING STAR
.....Inez DeM. Keck. M28.K. Picture of the Washington Evening Star Building on cover.
M28.K
FLORIDA TIMES UNION MARCH
GAZETTE TIMES 2 MARCH
Phil Edwards
GOLD AND BLUE, THE (FISK, 1946)
.....John W. Work M1959.F5W
GOOD BYE MY SOLDIER BOYS (BMSC)
Lee Harrell (Sung by Bradford & Crumbley)
GREATER PITTSBURGH
HAIL ALMA MATER (Illinois State Normal University)
....M1958.I26N4 1926
HAIL TO THE SPIRIT OF FREEDOM (BSMC)
W.C. Handy
HALE, W. J. (President, A&I STATE NORMAL SCHOOL)
"A AND I STATE NORMAL MARCH"
Nathaniel C. Davis
HAPPY LITTLE COONS IN DIXIE (BSMC)
.....Julia S. Holloway
HARTFORD POST
JO Casey
HARFORD TIMES
JO Casey
HAVE YOU THE TRIBUNE HABIT?
Edward Buffington (M1622.B: Minneapolis Tribune)
HAWAIIAN PARADE (BSMCI)
Eduard Holst
(Blacks in costumes walking in with spears as if going to war. Exaggerated features)
HERALD BELL MARCH
John Burkhart
HERALD MARCH
Nhan Franko
HOUSTON COLLEGE
.....Ella Lois Johnson-Hudson M1959.H7J
KIMBALL POS
John J. Cauchois
LOVE'S GREETING WALTZ (BSMC)
J.W. HOFFMAN, JR.
MINNEAPOLIS JOURNAL
Chauncey L. Canfield
MINNEAPOLIS JOURNAL MARCH
Edmund Braham
MISSISSIPPI VALLEY STATE COLLEGE BAND
"I Shall Return"
N. C. Davis
MOTON'S INAUGURAL MARCH
Frank L. Drye
NY MUSICAL EXCHANGE
Leopol Fuenkenstein
NEW YORK PRESS PATROL
JJ Cauchois
NEW YORK RECORDERWJ
D.F. Bradley
NEW YORK TRIBUNE MARCH
A. LaGuardia
NEWS MARCH
.....Rose M. Jones. Dedicated to the leading newspapers of Texas, "The Galveston News" nad "The Dallas News" M28.J
OCTOROONS (BSMC)
.....J.W. Johnson. (Respectfully dediated to MALLOR BROs) of Ishams Octoroons)
O WESTERN U! (Western University Glee Song)
.....Prof Robt G. Jackson (music); Prof. Albert Ross (words)
Has picture of Ward Hall, Trades' Hall, Stanley Hall, Bishop Abraham Grant, D.D. (President of the Board of Trustees, Western University and Wm T. Vernon, A.M. D., D. President of Western University) M1959.WJ
ORGAN (PIPE ORGAN) (BSMC)
....."Marche Religioso" by Leonard Z. Johnson. M28.J
OUR BOYS AND GIRLS MARCH
Edouard Hesselberg. To the Philadelphia Times.
PHILADELPHIA RECORD
H. Engelmann
PITTSBURG DISPATCH
J.S. Duss
PITTSBURGH GAZETTE MARCH
Carl Bruno
PRESS MARCH
Composed and dedicated to the Philadelphia Press. By Edouard Hessellberg.
SISSLE, NOBLE
....See America First (Music: Eubie Blake)
STATON'S MUSIC JOURNAL
H. ENGLEMANN
TICKLED TO DEATH (BSMC)
Chas Hunter
UNCLE REMUS (BSMCI)
.....Griffith J. Jones. Arr. Harry I. Lincoln. (M28.J). Black man sitting on a porch in a chair with a cane.
WASHINGTON BEE (BSMC)
.....Wellington A. Adams (Photo of W. Calvin Chase)
"Wellington Adams gave Aida Ward first lesson"
(Pitts C, 1/19/29, 2S1)
WASHINGTON EVENING STAR
Inex DeM. Keck (pic of Evening Star bldg)
WASHINGTON HERALD MARCH
Antonio Ceflo
WASHINGTON POST
F.Fanciulla
WATERLOO POST MARCH
Harvey H. Fleming
WHITE, Dr. J. HERBERT (Pres. Mississippi Valle State College)
"I SHALL RETURN"
N.C. Davis
If there is no call number by listed, the call number is M28
A & I STATE NORMAL MARCH
Nathaniel Davis
ALSTON, TOUSSIANT L'OUVERTURE
.....Let's go boys, let's go! M1646.A (BMSC)
AMERICAN PRESS MARCH
Michael Brand
ANACOSTIA (WASHINGTON, DC)
.....March Triumphal of Freedom,(1922) by Fulton B. Karr (author of the "Shandon Bells" Anacostia DC.) Sheet music cover, M28.K. "Respectfully dedicated to the boys of his home town of Anacostia, DC, who served their country and as a tribute to the memory of those who gave their lives in the great world war. by the author.
(AN ONLINE REFERENCE): DC-OLD-NEWS-L Archives
Archiver > DC-OLD-NEWS > 2004-12 > 1103650865
From: Jamie Perez
Subject: The Washington Post, February 2, 1896 - ANACOSTIA NEWS
Date: Tue, 21 Dec 2004 09:41:05 -0800 (PST)
The Washington Post, Sunday, February 2, 1896, pg. 11
ANACOSTIA.
Mrs. Samuel B. Lyon, wife of the superintendent of Bloomingdale Hospital, New York, was visiting at St. Elizabeths during the week.
The Geraldine Dramatic Club will give an entertainment, under the auspices of St. Teresas Branch of the Conference of St. Vincent De Paul, at Masonic Hall on Tuesday night.
The Ladies Aid Society of St. Johns Parish, Md., gave a sociable Thursday evening at the residence of Mr. John Kirby for the benefit of the church. The attendance was very large, a number of young people from Anacostia being present. Dancing was kept up till late, when refreshments were served. Those attending from Anacostia were Mr. Thomas Gray, Dr. William Green, Miss Schaefer, Mr. Joseph Hospital, Mr. Albert Richardson, Miss Mae Branson, Miss Nellie Leonard, Mrs. Emma Robey, Mr. Frank McLean, Mr. Louis Smith, Mr. Sanderson, Mr. William Jordon, Miss Martha Rose, Miss Gertrude Leonard, Miss Belle Gray, and Mr. John Kane.
Mr. and Mrs. H. A. Griswold invited a number of friends to meet Mr. Griswolds nephew, Mr. Harry L. Welles, of Connecticut, on Wednesday evening. Vines and ferns decorated the handsome parlors and refreshments were dispensed at the conclusion of the dancing. Among those present were Miss Florence Bowman, Miss Emma Lee, Miss Lucy Hollister, Miss Emma Bowen, Mr. Norman North, Mr. Warren Tolson, Miss Anna Lee, Miss Signa Guerdrum, Prof. Johnson, of the Eastern High School; Miss Alice Putnam, Miss Mildred Peck, Miss Theda North, Dr. William Green, Mr. William Jordon, Mr. Fulton Karr, Miss Luida Pumphrey, Mr. Maurice Haines, Mr. William Pyles, Miss Edith Pyles, and Miss Carrie Golden. The company was entertained with piano music, by Mr. Fulton Karr and also by Miss Pumphrey.
The much-discussed checker tournament opened on Tuesday night. All the competitors were present and the revised list of entries was announced, as follows: Dr. C. H. Weiss, Dr. J. A. Watson, Dr. R. H. Pyles, and Messrs. Charles Richardson, Meitzler, Payne, P. S. Quaid, and Prof. August Miller. It was decided that the three prizes to be awarded should consist of a valuable checker board and set of checkers for the first and second prizes, and for the third prize a manual on the game of draughts. It was agreed that every competitor should play twelve games with his opponent, until all shall have played against one another. The tourney then opened, and during the evening a number of interested citizens appeared to watch the play. On Thursday evening play was again resumed, and will commence again on Tuesday night. The record is as follows: Dr. J. A. Watson, per cent., .722; Dr. Pyles, .687; Meltzler, .687; Payne, .500; Dr. Weiss, .500; P. S. Quaid, .475; Prof. Miller, .2!
75, and
C. Richardson, .187.
Transcribed by: Jamie M. Perez jamiemac@flash.net
Trying to confirm or refute that CORNELIUS McLEAN SR. (circa 1774-Sep. 12, 1836) of Washington, D.C., was the uncle of WILLIAM McLEAN CRIPPS (1799-1876) of Washington, D.C, and, furthermore, that Cornelius was born in Staten Island, NY.
ARMSTRONG "TECH" HIGH SCHOOL MARCH (BSMC)
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
(ALSO: search Armstrong in American memory for additional references to the school, although not music references)
BACK TO LIFE (BSMCI)
Chas. Hunter
BALTIMORE AMERICAN
Charles P.Burton
BIGGERS BUSINESS COLLEGE SONG
.....Music Setting by Mrs. Jeanette D. Dyer (picture of Mrs Dyer on sheet music cover)M1959.B65W
....(Written inside sheet music: Poetess and Song Writer, Mrs. Lela M. Williams, after a visit to the "Biggers Business College", upon observation and inspection of this historical institution, and being thus inspired, wrote this song entitled, "Biggers Business College Song", and she, having credentials showing exceptional scholastic attainments, was chosen Program Director and Registrar of this business institution.
BILLBOARD MARCH
John N. Klohr (M1420.K)
BLACK COUPLE DANCING (BSMCI)
.....Cotton Patches. By M. R. Kaufman. M28.K
BLACK MAN SITTING ON PORCH (BSMCI)
.....Uncle Remus. Griffith Jones. M28.J
BLAKE, J. HUBERT (EUBIE)
.....See America First M1630.B (mss and published music)
BLAND, JAMES A (1854-1911)
.....In the evening by the moonlight. M1630.B
(Words and music revised and edited by Jerome H. Kanner at the direction of Irene Bland and The Bland Estate)
BOONE, RUSSELL (Band Director, Mississippi Valley State)
"I SHALL RETURN"
N. C. Davis
BOSTON GLOBE MARCH
A. Lawrence Burkman
BOSTON GLOBE 2 STEP DANCE GRAND MARCH
Edward Holst
BOSTON HERALD MARCH
Dave Fitzgibbon
BOSTON POST MARCH
EC Cary
BOSTON PRESS CLUB MARCH
Dave Fitzgibbon
BROOKLYN TIMES MARCH
John William Black
CENTURY MARCH (BSMC)
.....Joe Jordan. M28.J.
DRYE, FRANK L.
On sheet music cover of "Moton's Inaugural March)
Published by Frank L. Drye, Tuskegee Institute, Ala, 1916
----The sheet music was published in celebration of the inauguration of Maj. Robert Russa Moton as Principal of Tuskegee. Booker T. Washington died and Robert R. Moton became principal in 1916. On the sheet music cover is a picture of Moton, Washington, Drye and the Tuskegee Institute Band (about 40 all males)
Hampton University to Dedicate Joe Jordan Ragtime Jazz and Entrepreneurship Collection June 17
Hampton, VA - Hampton University will dedicate the "Joe Jordan Ragtime Jazz and Entrepreneurship Collection" Saturday, June 17 at 3 p.m. The ceremony will take place in the Peabody Room of the William & Norma Harvey Library on the HU campus and will be followed by a reception at 4:15 p.m. in the Hampton University Museum. The event is made possible through the sponsorship of Consolidated Bank & Trust.
"Our family is honored to make this donation to Hampton University," said Kimi Rabun, granddaughter of the late Joe Jordan and the mother of two recent HU graduates. "We are confident my grandfather's legacy will be preserved at Hampton and that the collection will provide an opportunity for public access to the origins of American jazz music."
"It was important to our family that a Historically Black University receive this African-American cultural gift and Hampton has become our new Home by the Sea," Rabun added.
A world-famous composer and musician, Jordan carried the distinction of being one of the richest African-American real estate entrepreneurs in the United States during the ragtime era. His priceless collection contains more than 600 items, including original manuscripts, sheet music, engraving plates, photos, private papers and books.
"Lovie Joe," created in 1910, proved to be Joe Jordan's greatest composition and musical success, according to Tim Samuelson, cultural historian for the City of Chicago. Jordan's other musical score of significance was "Siren of the Tropics," composed for Josephine Baker's "Folies Bergere in Paris."
"We at Consolidated Bank & Trust Company are pleased to be a participant in honoring Joe Jordan, not only a great artist, but also an astounding entrepreneur," said Joseph L. Williams, chairman of the board of Consolidated Bank Trust Company. "He and our founder, Maggie Lena Walker, both had a vision and a plan to implement the vision in a manner that greatly benefited their respective communities."
"Jordan was one of America's first Black millionaires and the J. Jordan building was the first major, Black-owned economic structure in the city of Chicago," explained Dr. Sid Howard Credle, dean of the HU School of Business. "That accomplishment provided motivation to other entrepreneurs."
Credle, whose efforts resulted in the Hampton University donation, was selected by the Jordan's family to be the official biographer of the musician's life story.
(ALSO): When he was 21, Jordan moved to Chicago. The next year, he wrote the Pekin Rag, dedicated to Bob Mott's Pekin Theater, Chicago's great African-American-owned theater and first of the many such theaters and vaudeville houses that were to sprout up across the nation. The Pekin also set the stage for Chicago to become the center of the jazz world between 1915 and 1925.
In the spring of 1905, Jordan was called to New York by Ernest Hogan. Hogan had organized a group of seventeen men and women--singers, dancers, and musicians--and wanted Jordan and James Reese Europe to help turn them into an all-African-American ragtime orchestra and write their music. When The Memphis Students made its debut, it was the first group of its kind to play in New York City.
CHICAGO AMERICAN
D.W. Godard
CHICAGO TRIBUNE MARCH
W. Paris Chambers
CINCINNATI ENQUIRER MARCH
Louis W. Brand
CINCINNATI ENQUIRER
B. Kleinbeck
CINCINNATI POST MARCH
By J.V. Jhio
CINCINNATI POST MARCH
John N. Klohr
CLEF CLUB GRAND MARCH (BSMC)
James Reese Europe
COLORED AMERICAN MARCH (BSMC)
James G. Clayton
COTTON PATCHES (BSMI)
.....M.R. Kaufman. M28.K, Black couple dancing
COUPLES PAIRED AND WALKING IN A LINE (BSMCI)
.....Sheet music cover. "Lucinda's Rag-time Reception March. John S. Hill. Cincinnati: Ilsen & Co., 1901)
CREOLE (BSMC)
Basile Bares
CREOLE (BSMC)
Madame Saint-Clair
DAFFY-DOWN-DILLY (BSMCI)
J. Lubrie Hill
(Black man sitting and playing a banjo)
DAILY POST
F. Fanciulli
DAVIS, NATHANIEL C.
"A AND I STATE NORMAL MARCH"
Nathaniel C. Davis
DOUGLASS' FUNERAL MARCH (BSMC)
.....Music by Charles G. Harris
DUNBAR HIGH SCHOOL MARCH
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
EVANS' GRAND MARCH
.....Dwight W. Godard. Published by the Aurora Daily Beacon (Aurora, ILL: 1893)
EVENING STAR
.....F. Fanciulli.
EVENING STAR
.....Inez DeM. Keck. M28.K. Picture of the Washington Evening Star Building on cover.
M28.K
FLORIDA TIMES UNION MARCH
GAZETTE TIMES 2 MARCH
Phil Edwards
GOLD AND BLUE, THE (FISK, 1946)
.....John W. Work M1959.F5W
GOOD BYE MY SOLDIER BOYS (BMSC)
Lee Harrell (Sung by Bradford & Crumbley)
GREATER PITTSBURGH
HAIL ALMA MATER (Illinois State Normal University)
....M1958.I26N4 1926
HAIL TO THE SPIRIT OF FREEDOM (BSMC)
W.C. Handy
HALE, W. J. (President, A&I STATE NORMAL SCHOOL)
"A AND I STATE NORMAL MARCH"
Nathaniel C. Davis
HAPPY LITTLE COONS IN DIXIE (BSMC)
.....Julia S. Holloway
HARTFORD POST
JO Casey
HARFORD TIMES
JO Casey
HAVE YOU THE TRIBUNE HABIT?
Edward Buffington (M1622.B: Minneapolis Tribune)
HAWAIIAN PARADE (BSMCI)
Eduard Holst
(Blacks in costumes walking in with spears as if going to war. Exaggerated features)
HERALD BELL MARCH
John Burkhart
HERALD MARCH
Nhan Franko
HOUSTON COLLEGE
.....Ella Lois Johnson-Hudson M1959.H7J
KIMBALL POS
John J. Cauchois
LOVE'S GREETING WALTZ (BSMC)
J.W. HOFFMAN, JR.
MINNEAPOLIS JOURNAL
Chauncey L. Canfield
MINNEAPOLIS JOURNAL MARCH
Edmund Braham
MISSISSIPPI VALLEY STATE COLLEGE BAND
"I Shall Return"
N. C. Davis
MOTON'S INAUGURAL MARCH
Frank L. Drye
NY MUSICAL EXCHANGE
Leopol Fuenkenstein
NEW YORK PRESS PATROL
JJ Cauchois
NEW YORK RECORDERWJ
D.F. Bradley
NEW YORK TRIBUNE MARCH
A. LaGuardia
NEWS MARCH
.....Rose M. Jones. Dedicated to the leading newspapers of Texas, "The Galveston News" nad "The Dallas News" M28.J
OCTOROONS (BSMC)
.....J.W. Johnson. (Respectfully dediated to MALLOR BROs) of Ishams Octoroons)
O WESTERN U! (Western University Glee Song)
.....Prof Robt G. Jackson (music); Prof. Albert Ross (words)
Has picture of Ward Hall, Trades' Hall, Stanley Hall, Bishop Abraham Grant, D.D. (President of the Board of Trustees, Western University and Wm T. Vernon, A.M. D., D. President of Western University) M1959.WJ
ORGAN (PIPE ORGAN) (BSMC)
....."Marche Religioso" by Leonard Z. Johnson. M28.J
OUR BOYS AND GIRLS MARCH
Edouard Hesselberg. To the Philadelphia Times.
PHILADELPHIA RECORD
H. Engelmann
PITTSBURG DISPATCH
J.S. Duss
PITTSBURGH GAZETTE MARCH
Carl Bruno
PRESS MARCH
Composed and dedicated to the Philadelphia Press. By Edouard Hessellberg.
SISSLE, NOBLE
....See America First (Music: Eubie Blake)
STATON'S MUSIC JOURNAL
H. ENGLEMANN
TICKLED TO DEATH (BSMC)
Chas Hunter
UNCLE REMUS (BSMCI)
.....Griffith J. Jones. Arr. Harry I. Lincoln. (M28.J). Black man sitting on a porch in a chair with a cane.
WASHINGTON BEE (BSMC)
.....Wellington A. Adams (Photo of W. Calvin Chase)
"Wellington Adams gave Aida Ward first lesson"
(Pitts C, 1/19/29, 2S1)
WASHINGTON EVENING STAR
Inex DeM. Keck (pic of Evening Star bldg)
WASHINGTON HERALD MARCH
Antonio Ceflo
WASHINGTON POST
F.Fanciulla
WATERLOO POST MARCH
Harvey H. Fleming
WHITE, Dr. J. HERBERT (Pres. Mississippi Valle State College)
"I SHALL RETURN"
N.C. Davis
Iconography File
This file represents photographs or references. Most items in the list are illustrations on sheet music, or pictures in programs. Few are the actual photos.
ADAMS, ELWYN
......National Negro Opera Company Collection, Music Division, Library of Congress, Box 5, folder 4
ADAMS, LESLIE
......National Negro Opera Company Collection, Music Division, Library of Congress, Box 6, folder 6
ADAMS, MAMIE S
.....Sheet music cover. "There is Room in Heaven For You" by Wallace D. Adams. M2199.A
ADAMS, WELLINGTON
......Harmon Foundation Collection, Manuscripts Division, Library of Congress, Box 55
ADDISON, ADELE (Voice of Dorothy Dandridge)
......Prints and Photographs Division, Library of Congress. http://lcweb2.loc.gov/pp/pphome.html
ALEXANDER, MILDRED
.....Come Enter My Heart. M2199.A
ALFORD, DEACON ELSTON
.....A Zeal Burning in my heart. M2199.A
ANDERSON, AL (BMSC)
....."My Darktown Gal" by Lee Johnson. Sheet music cover
ANDERSON, MALETUS
.....Pitts C, 8/3/39, Front Page
ANDERSON, MAMIE
....."My Darktown Gal" by Lee Johnson. Sheet music cover
ARTISTS
.....Charles White, talented young negro artist. Mural at Hampton, People's Voice, 1/29/44, 15
AUSTIN, PATTI (7 Years Old)
.....Cash Box, 4/19/58, p41
BANKS, RALPH
.....Pitts C, 5/29/26, p6
BETHEL, FANNIE
.....Chair of a Detroit Negro Opera annual pre-opera ball. Chi Def, 5/6/39, 16
BIGGERS, MRS LELA M
.....Biggers Business College Song, M1959.B65W
BOYD, HENRY ALLEN
.....President of the Citizens Savings Bank and Trust Company (Nashville), the oldest Negro bank in the country, Pitts C, 8/17/29 (2/1)
BRADFORD AND CRUMBLEY (BSMC)
.....New York Prime Favorites. Sheet music cover. "The Heart That I Love" by Lee Harrell, Copyrighted by Lee Harrell (Milwaukee, Wisconsin: 1902)
BRISTER, SILAS W. (Sr)
.....New freedom's training ground. M1630.B
BROOMFIELD, LEROY
.....Partner of Famous Easter dancing team (Aurora Greely, other partner). Pitts C, 8/10/29 (3/2)
CHARLTON, MELVILLE
Melville Charlton was the first black artist admitted to the American Guild of Organists.
He was born in New York City on August 26, 1880, received piano instruction from E.B. Kinney (a Dvorak pupil), won a free scholarship at the National Conservatory of Music, and studied organ and composition under Charles Heinroth (musical director and organ recitalist, Carnegie Hall, Pittsburgh, PA). In 1915, he passed an examination conducted by Horatio C. Parker and received the degree of Associate of the American Guild of Organists. In 1924, he received an honorary doctorate from Howard University.
He was organist at Union Theological Seminary and a Jewish Temple in New York City.
He died November 13, 1973 in New York City.
CHILDREN (PICTURE OF FOUR BLACK CHILDREN ON SHEET MUSIC COVER) (BSMC)
.....Sheet music cover. "Happy Little Coons in Dixie" by Julia S. Holloway. Adams Music: Passaic, N.J. 1903)
COBB, WILLIAM MONTAGUE
.....Violinist and professor of anatomy at Howard University, http://www.jstor.org/view/10773711/di007676/00p0501m/0
COLE, JOSEPH
.....First african american to sing with the Detroit Civic Orchestra, Chic Def, 2/5/38, 6
Davis, Nathaniel C.
.....A&I State Normal March, M28.Davis
DAWSON, MARY CARDWELL
.....National Negro Opera Company Collection, Library of Congress, Music Division
DAWSON, WILLIAM L.
.....Pitts C, 11/24/34 (8/2)
DEPPE, LOUS B.
.....Baritone. Pitts C, 12/7/29 (3/2)
DIXIE JUBILEE SINGERS
.....Eva Jessye, Dir. Pitts C, 5/22/26, p7
DIXIE MELODY MASTERS
.....http://sdrc.lib.uiowa.edu/traveling-culture/chau1/pdf/dixiemel/2/brochure.pdf
DIXON, DEAN
.....Prints and Photographs Catalog, Library of Congress. http://lcweb2.loc.gov/pp/pphome.html
DIXON, VANCE
.....Pitts C, 1/9/26, p10
DOMINGO, EULALIE
.....concert pianist, originally from Kingston, Jamaica, Pitts C, 8/21/26, 6
DUCKETT, RUTH
.....Sam Perryman Collection
DUNHAM, KATHERINE
.....People's Voice, 7/1/44, p22
DOUGLASS, FREDERICK (BSMC)
.....Sheet music by W.C. Handy. Frederick Douglass photo top right
DUNBAR HIGH SCHOOL MARCH
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
DUNBAR, RUDOLPH
.....http://www.overgrownpath.com/2007/04/berlin-philharmonics-first-black.html
FREEMAN, H. LAWRENCE
.....Opera composer, Amst News, 8/29/28, 7
EVERETT, DORETHA
.....No Weapon, Mildred Alexander, M2199.A
FLEMING, CHARLES W
.....6 Women, 4 Men on Afro Honor Roll, Wash Afro, 4/24/71, 13
GRAY, MALVIN
.....Manuscripts Division, Library of Congress. http://www.loc.gov/rr/mss/
GREELY, AURORA
.....Partner in Famous Eastern dancing team (Leroy Broomfield), Pitts C., 8/10829 (3/2)
.....Pitts C, 5/26/26, p6
HAGAN, HELEN E. (1893-1964)
.....Crisis Magazine, Nov,. 1911, 18 (also Helen Hagan: also see clipping under "Yale"). First black to earn a B MUS. in music from Yale 91912)
HALL, ADELAIDE
.....Get your Body Off That Rockin' Chair. M1739.2.M (Morton Morrow)
HALL, PROF FREDERICK
.....Prof Frederick D. Hall returned to US from 2 year study in Europe and West Africa, Amst News, 8/17/35 (5/1) Pictured with his wife
HANDY, W.C. (BSMC)
.....Composer of sheet music. Photo bottom right.
HAPPY LITTLE COONS IN DIXIE (BSMC)
....By Julia S. Holloway (sheet music cover)
HEBRON, J. HARVEY
.....University of Pennsylvania (Marian Anderson website0
HINDERAS, NATALIE
.....New York World-Telegram/Sun Collection, Prints & Photographs, Library of Congress.
HINES, PROF. J. EARLE
....It means a lot to know jesus for yourself. Doris Akers, M2199.A
HOFFMAN (JR), J.W.
.....Photograph on a sheet music cover. Violinist. Song title: Love's Greeting Waltz. Publisher, J.W. Hoffman, Jr., 1904. M32.H
HOLLOMAN, CHARLOTTE WESLEY
.....Sam Perryman Collection
.....Singer Charlotte Holloman has sculptured face, long brown hair. Jet, 2/21/54, p21 "Are the Prettiest Girls from ashington?
HOLMES, HENRY
.....Manuscripts Division, Library of Congress. http://www.loc.gov/rr/mss/
JACKSON, MAHALIA
....A Spring in Galilee, Margaret Aikens, M2199.A
JOHNSON, DR. CHARLES S.
.....Pitts C, 12/1/34 (2/1)
JOHNSON, JESSIE LEE
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
JONES, LOUIA VAUGH
.....Center. Pittsburgh Courier Collection (Washington Edition), Howard University
KNIGHT, GLADYS (8 years old)
.....Winner of the Ted Mack Amateur Hour, 1952. Library of Congress, Prints & Photographs Division, http://lcweb2.loc.gov/pp/pphome.html
LEWIS/ROBINSON
.....Anne Harrison Lewis and Lawrence Robinson. A dance team. Afro, 4/8/50, p18
LEWIS, ANNE HARRISON
.....Of the dance team of Lewis and Robinson. Afro, 4/18/50, p18
LINCOLN UNIVERSITY ACAPPELLA CHOIR
.....Bulletin. National Association of Teachers of Singing Journal (N.A.T.S.)Nov-Dec 1953, p3
MCFERRIN, ROBERT
.....Jet, 12/16/54, p58
MOORE, WILLIAM TOOTS
.....I've Cried My Last Tear. William Toots Moore, M1630.2.M
MOSES, ETHEL
.....Most beautiful American colored girl, Pitts C, 8/17/29, Feature section
MUSE, JESSIE ESTELLE
.....Crisis Magazine, Nov. 1911, 18 (also Helen Hagan: also see clipping under "Yale")
NELSON, ANNIE B.
.....Sam Perryman Collection
NEW WESLEY AME ZION CHURCH
.....See: Organ
NORTH CAROLINA MUTUAL QUARTETTE
.....Pitts C, 11/9/29 (5/2)
ORGAN (PIPE ORGAN)
.....On sheet music cover. "Marche Religioso" by Leonard Z. Johnson. Picture of pipe organ dedicated to New Wesley AME Zion Church (Harrisburgh, PA)
PEELER, P. LAWRENCE
.....Pitts C, 12/29/34 (6/1)
PERRYMAN, SAM
PHILLIPS, CARRYE MAE
.....Pitts C, 8/24/29 (2/1)
PILGRIM TRAVELERS
....Jesus i'm thankful. M2199.Alexander, J.W.
PRICE, CHATTIS
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
RAHN, MURIEL
.....Chi Def, 12/4/43, 10
RAY, WILLIAM
.....Sam Perryman Collection
Rector, Eddie. Dancer. Pitts C, 5/1/26, p10
RHODES, ALBERT, Tenor. Wash Afro, 5/1/71, 5
RICHARDSON, MAYME
.....President of the Detroit Branch of the National Assoc of Negro Musicians (1920s), NNOC: 14/33
ROBESON, PAUL
.....The Peat Bog Soldiers (Die Moorsoldaten). M1735.M
ROBINSON, LAWRENCE
.....Of the dance team of Lewis/Robinson (Anne Harrison). Afro 4/8/50, p18
ROYE TRIO
.....Pitts C, 5/3/26, woman's page
SANDIFER, L'FREDA
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
SANDRIDGE, JUSTIN
.....Pianist, appears in recital at Carnegie Music hall, Friday night, Pitts C, 11/16/29 (8/1)
SEWELL, EDITH
.....People's Voice, 2/12/44, 31
Skinner, Arturo
.....The hour of deliverance, M2199.Alexander, Mildred.
TALBERT, WEN
....Pitts C, 10/9/26, 13
TRENHOLM, H.C.
.....President of Alabama State in the mid 1920s.
WASHINGTON EVENING STAR
.....Inez DeM. Keck. M28.K
WATKINS, MARY
.....http://www.oaklandopera.org/FANNIEMAY.html
WEEKS, S.S.
.....Amst News, 8/17/35 (5/1)
WEEMS, E.L.
.....W.L.Weems who owns and operates the Weems Photo Studio at 327 Broad Street, Jacksonville, FL. Grad of Tuskegee School of Phography under the late C.M. Battey, has worked in the best white studios in the south. Worked in Atlanta where he was staff photographer for the Atlanta Constitution. Studio in Jacksonville, which has been open for two years, is valued at $2500. Pitts C, 12/7/29 (2/1). Photo
WEINGLASS, DEWEY
.....World's greatest colored russian dancer, Pitts C, 9/4/26, 3
WHITE, CHARLES
.....Talented negro artist. Has mural at Hampton. People's Voice, 1/29/44, 15
WILBERFORCE SEXTETTE
.....Will give recital, 11/22/29 in Pittsburgh, Pitts C, 11/16/29 (8/1)
WORK, FREDERICK
.....Brother of John Wesley Work, Pitts C, 8/3/29 (11/1)
WRIGHT, NANNIE
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
(UNIDENTIFIABLE)
.....BLACK MALE IN UNIFORM...New Mac Cuist Nagel March. G. Katzenberger. M28.K
PIANOS
Source: Pittsburgh Courier, 12/15/28, 10. Ellison piano.
L.F. Ellison Piano House, 967 Liberty Avenue
Source: Sheet music cover. Fischer piano. Established 1840.
J. & C. Fischer, 110 Fifth Avenue, Cor. 16th St., NEW YORK
>
Source: Sheet music cover. Hafelin piano. Arnold Hafelin, manufacturer
ADAMS, ELWYN
......National Negro Opera Company Collection, Music Division, Library of Congress, Box 5, folder 4
ADAMS, LESLIE
......National Negro Opera Company Collection, Music Division, Library of Congress, Box 6, folder 6
ADAMS, MAMIE S
.....Sheet music cover. "There is Room in Heaven For You" by Wallace D. Adams. M2199.A
ADAMS, WELLINGTON
......Harmon Foundation Collection, Manuscripts Division, Library of Congress, Box 55
ADDISON, ADELE (Voice of Dorothy Dandridge)
......Prints and Photographs Division, Library of Congress. http://lcweb2.loc.gov/pp/pphome.html
ALEXANDER, MILDRED
.....Come Enter My Heart. M2199.A
ALFORD, DEACON ELSTON
.....A Zeal Burning in my heart. M2199.A
ANDERSON, AL (BMSC)
....."My Darktown Gal" by Lee Johnson. Sheet music cover
ANDERSON, MALETUS
.....Pitts C, 8/3/39, Front Page
ANDERSON, MAMIE
....."My Darktown Gal" by Lee Johnson. Sheet music cover
ARTISTS
.....Charles White, talented young negro artist. Mural at Hampton, People's Voice, 1/29/44, 15
AUSTIN, PATTI (7 Years Old)
.....Cash Box, 4/19/58, p41
BANKS, RALPH
.....Pitts C, 5/29/26, p6
BETHEL, FANNIE
.....Chair of a Detroit Negro Opera annual pre-opera ball. Chi Def, 5/6/39, 16
BIGGERS, MRS LELA M
.....Biggers Business College Song, M1959.B65W
BOYD, HENRY ALLEN
.....President of the Citizens Savings Bank and Trust Company (Nashville), the oldest Negro bank in the country, Pitts C, 8/17/29 (2/1)
BRADFORD AND CRUMBLEY (BSMC)
.....New York Prime Favorites. Sheet music cover. "The Heart That I Love" by Lee Harrell, Copyrighted by Lee Harrell (Milwaukee, Wisconsin: 1902)
BRISTER, SILAS W. (Sr)
.....New freedom's training ground. M1630.B
BROOMFIELD, LEROY
.....Partner of Famous Easter dancing team (Aurora Greely, other partner). Pitts C, 8/10/29 (3/2)
CHARLTON, MELVILLE
Melville Charlton was the first black artist admitted to the American Guild of Organists.
He was born in New York City on August 26, 1880, received piano instruction from E.B. Kinney (a Dvorak pupil), won a free scholarship at the National Conservatory of Music, and studied organ and composition under Charles Heinroth (musical director and organ recitalist, Carnegie Hall, Pittsburgh, PA). In 1915, he passed an examination conducted by Horatio C. Parker and received the degree of Associate of the American Guild of Organists. In 1924, he received an honorary doctorate from Howard University.
He was organist at Union Theological Seminary and a Jewish Temple in New York City.
He died November 13, 1973 in New York City.
CHILDREN (PICTURE OF FOUR BLACK CHILDREN ON SHEET MUSIC COVER) (BSMC)
.....Sheet music cover. "Happy Little Coons in Dixie" by Julia S. Holloway. Adams Music: Passaic, N.J. 1903)
COBB, WILLIAM MONTAGUE
.....Violinist and professor of anatomy at Howard University, http://www.jstor.org/view/10773711/di007676/00p0501m/0
COLE, JOSEPH
.....First african american to sing with the Detroit Civic Orchestra, Chic Def, 2/5/38, 6
Davis, Nathaniel C.
.....A&I State Normal March, M28.Davis
DAWSON, MARY CARDWELL
.....National Negro Opera Company Collection, Library of Congress, Music Division
DAWSON, WILLIAM L.
.....Pitts C, 11/24/34 (8/2)
DEPPE, LOUS B.
.....Baritone. Pitts C, 12/7/29 (3/2)
DIXIE JUBILEE SINGERS
.....Eva Jessye, Dir. Pitts C, 5/22/26, p7
DIXIE MELODY MASTERS
.....http://sdrc.lib.uiowa.edu/traveling-culture/chau1/pdf/dixiemel/2/brochure.pdf
DIXON, DEAN
.....Prints and Photographs Catalog, Library of Congress. http://lcweb2.loc.gov/pp/pphome.html
DIXON, VANCE
.....Pitts C, 1/9/26, p10
DOMINGO, EULALIE
.....concert pianist, originally from Kingston, Jamaica, Pitts C, 8/21/26, 6
DUCKETT, RUTH
.....Sam Perryman Collection
DUNHAM, KATHERINE
.....People's Voice, 7/1/44, p22
DOUGLASS, FREDERICK (BSMC)
.....Sheet music by W.C. Handy. Frederick Douglass photo top right
DUNBAR HIGH SCHOOL MARCH
.....Music by Isabelle R. Hammond. Arranged by Wellington Adams (see his photo)
DUNBAR, RUDOLPH
.....http://www.overgrownpath.com/2007/04/berlin-philharmonics-first-black.html
FREEMAN, H. LAWRENCE
.....Opera composer, Amst News, 8/29/28, 7
EVERETT, DORETHA
.....No Weapon, Mildred Alexander, M2199.A
FLEMING, CHARLES W
.....6 Women, 4 Men on Afro Honor Roll, Wash Afro, 4/24/71, 13
GRAY, MALVIN
.....Manuscripts Division, Library of Congress. http://www.loc.gov/rr/mss/
GREELY, AURORA
.....Partner in Famous Eastern dancing team (Leroy Broomfield), Pitts C., 8/10829 (3/2)
.....Pitts C, 5/26/26, p6
HAGAN, HELEN E. (1893-1964)
.....Crisis Magazine, Nov,. 1911, 18 (also Helen Hagan: also see clipping under "Yale"). First black to earn a B MUS. in music from Yale 91912)
HALL, ADELAIDE
.....Get your Body Off That Rockin' Chair. M1739.2.M (Morton Morrow)
HALL, PROF FREDERICK
.....Prof Frederick D. Hall returned to US from 2 year study in Europe and West Africa, Amst News, 8/17/35 (5/1) Pictured with his wife
HANDY, W.C. (BSMC)
.....Composer of sheet music. Photo bottom right.
HAPPY LITTLE COONS IN DIXIE (BSMC)
....By Julia S. Holloway (sheet music cover)
HEBRON, J. HARVEY
.....University of Pennsylvania (Marian Anderson website0
HINDERAS, NATALIE
.....New York World-Telegram/Sun Collection, Prints & Photographs, Library of Congress.
HINES, PROF. J. EARLE
....It means a lot to know jesus for yourself. Doris Akers, M2199.A
HOFFMAN (JR), J.W.
.....Photograph on a sheet music cover. Violinist. Song title: Love's Greeting Waltz. Publisher, J.W. Hoffman, Jr., 1904. M32.H
HOLLOMAN, CHARLOTTE WESLEY
.....Sam Perryman Collection
.....Singer Charlotte Holloman has sculptured face, long brown hair. Jet, 2/21/54, p21 "Are the Prettiest Girls from ashington?
HOLMES, HENRY
.....Manuscripts Division, Library of Congress. http://www.loc.gov/rr/mss/
JACKSON, MAHALIA
....A Spring in Galilee, Margaret Aikens, M2199.A
JOHNSON, DR. CHARLES S.
.....Pitts C, 12/1/34 (2/1)
JOHNSON, JESSIE LEE
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
JONES, LOUIA VAUGH
.....Center. Pittsburgh Courier Collection (Washington Edition), Howard University
KNIGHT, GLADYS (8 years old)
.....Winner of the Ted Mack Amateur Hour, 1952. Library of Congress, Prints & Photographs Division, http://lcweb2.loc.gov/pp/pphome.html
LEWIS/ROBINSON
.....Anne Harrison Lewis and Lawrence Robinson. A dance team. Afro, 4/8/50, p18
LEWIS, ANNE HARRISON
.....Of the dance team of Lewis and Robinson. Afro, 4/18/50, p18
LINCOLN UNIVERSITY ACAPPELLA CHOIR
.....Bulletin. National Association of Teachers of Singing Journal (N.A.T.S.)Nov-Dec 1953, p3
MCFERRIN, ROBERT
.....Jet, 12/16/54, p58
MOORE, WILLIAM TOOTS
.....I've Cried My Last Tear. William Toots Moore, M1630.2.M
MOSES, ETHEL
.....Most beautiful American colored girl, Pitts C, 8/17/29, Feature section
MUSE, JESSIE ESTELLE
.....Crisis Magazine, Nov. 1911, 18 (also Helen Hagan: also see clipping under "Yale")
NELSON, ANNIE B.
.....Sam Perryman Collection
NEW WESLEY AME ZION CHURCH
.....See: Organ
NORTH CAROLINA MUTUAL QUARTETTE
.....Pitts C, 11/9/29 (5/2)
ORGAN (PIPE ORGAN)
.....On sheet music cover. "Marche Religioso" by Leonard Z. Johnson. Picture of pipe organ dedicated to New Wesley AME Zion Church (Harrisburgh, PA)
PEELER, P. LAWRENCE
.....Pitts C, 12/29/34 (6/1)
PERRYMAN, SAM
PHILLIPS, CARRYE MAE
.....Pitts C, 8/24/29 (2/1)
PILGRIM TRAVELERS
....Jesus i'm thankful. M2199.Alexander, J.W.
PRICE, CHATTIS
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
RAHN, MURIEL
.....Chi Def, 12/4/43, 10
RAY, WILLIAM
.....Sam Perryman Collection
Rector, Eddie. Dancer. Pitts C, 5/1/26, p10
RHODES, ALBERT, Tenor. Wash Afro, 5/1/71, 5
RICHARDSON, MAYME
.....President of the Detroit Branch of the National Assoc of Negro Musicians (1920s), NNOC: 14/33
ROBESON, PAUL
.....The Peat Bog Soldiers (Die Moorsoldaten). M1735.M
ROBINSON, LAWRENCE
.....Of the dance team of Lewis/Robinson (Anne Harrison). Afro 4/8/50, p18
ROYE TRIO
.....Pitts C, 5/3/26, woman's page
SANDIFER, L'FREDA
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
SANDRIDGE, JUSTIN
.....Pianist, appears in recital at Carnegie Music hall, Friday night, Pitts C, 11/16/29 (8/1)
SEWELL, EDITH
.....People's Voice, 2/12/44, 31
Skinner, Arturo
.....The hour of deliverance, M2199.Alexander, Mildred.
TALBERT, WEN
....Pitts C, 10/9/26, 13
TRENHOLM, H.C.
.....President of Alabama State in the mid 1920s.
WASHINGTON EVENING STAR
.....Inez DeM. Keck. M28.K
WATKINS, MARY
.....http://www.oaklandopera.org/FANNIEMAY.html
WEEKS, S.S.
.....Amst News, 8/17/35 (5/1)
WEEMS, E.L.
.....W.L.Weems who owns and operates the Weems Photo Studio at 327 Broad Street, Jacksonville, FL. Grad of Tuskegee School of Phography under the late C.M. Battey, has worked in the best white studios in the south. Worked in Atlanta where he was staff photographer for the Atlanta Constitution. Studio in Jacksonville, which has been open for two years, is valued at $2500. Pitts C, 12/7/29 (2/1). Photo
WEINGLASS, DEWEY
.....World's greatest colored russian dancer, Pitts C, 9/4/26, 3
WHITE, CHARLES
.....Talented negro artist. Has mural at Hampton. People's Voice, 1/29/44, 15
WILBERFORCE SEXTETTE
.....Will give recital, 11/22/29 in Pittsburgh, Pitts C, 11/16/29 (8/1)
WORK, FREDERICK
.....Brother of John Wesley Work, Pitts C, 8/3/29 (11/1)
WRIGHT, NANNIE
.....Bennett College (Female) Quartette, Pitts C, 8/3/29, 6/2
(UNIDENTIFIABLE)
.....BLACK MALE IN UNIFORM...New Mac Cuist Nagel March. G. Katzenberger. M28.K
PIANOS
Source: Pittsburgh Courier, 12/15/28, 10. Ellison piano.
L.F. Ellison Piano House, 967 Liberty Avenue
Source: Sheet music cover. Fischer piano. Established 1840.
J. & C. Fischer, 110 Fifth Avenue, Cor. 16th St., NEW YORK
>
Source: Sheet music cover. Hafelin piano. Arnold Hafelin, manufacturer
Friday, December 14, 2007
Musical Stage Performers
(Photograph of Al/Mamie Anderson on the covers of sheet music.)
ANDERSON, AL/MAMIE (BSMC)
(Also, an entry on Albert Anderson is listed in Henry T. Sampson's "Blacks in Blackface" (Scarecrow, 1980)
ANDERSON, AL
.....Al Anderson now at rest. Final tribute to a most brilliant actor and gentleman.
When the final curtain rang down on Al Anderson, lat of the team of Anderson and Goines, the american stage lost one of th emost brilliant actors of two generations. As a man, he was especially distinguished morally and intellectually and his deportment as a gentleman has never been surpassed by any actor of his race.
Albert E. Anderson died at his home in Keokik, Ia, Tuue, Dec 8 of heart failure from a nervous breakdown. he was born in that city, Aug 25, 1869. He went on stage at the age of 15 with McFadden's Untom's Cabin. he had two brothers, Morris and York, with whom he doubled separately, but York Anderson was first to become famous as a quartet man and with Ben Payne and George Moore, the two brothers formed the Eclipse Quartet which became popular in the east. They joined "Martell's South Before the War" but when Al began to shine as a comedian, Sam T. Jack signed him with his creole company, the first colored company ever booked in burlesque houses. It was in this company that he fell in love with Mamie Riley, a most beautiful girl, and married her. He then proceeded to train his wife for vaudeville and after they had opened on the keith Circuit as the team of Al and Mamie Anderson, they immediately became famous. his former travels with minstrels shows led him to dress in clean tailor-made expensive, floppy clothes and he wore a little side cap on his head which made his beautfy and his smile always captivating. his chief riot in comedy in his vaudeville act was chasing his shadow around with the spotlight different from any ever seen of which he was the originator. Now, in the hight of his carer, when musical comedy was all the rage, following affter the pace of Bob Cole and Billy johnson, Williams and Walker, Ernest Hogan, Black Patti (Sissieretta Jones) and Bob A. Kelley about 1902, the Anderson's starred in a production entitled 'Lady Africa"
Al Anderson had then become so popular in Boston that he had a standing contract for a summer run of minstrelsy at Cresent Gardens, the elite summer resort at Winthrop. he would surname his show "Lady Africa's Minstrels" with an afterpiece "On Broadway in Dahomey" beautifully met. This was in 1904, when as the Freeman representative, I was on one occasion his special guest. In the company of Happy Billy Brigs, J. Hamilton Goines and Mr. Hazzard, "Christioan" the foot cyclist and rollere skater. Bobby Kem and his Wangdoodle Four which included Leslit Tripplet, Johnny Greene, Will Cooke and a Chorus. Soon after this date, Anderson's wife became tired and retired from the stage and later left her husband. Anderson and Billy Briggs joined hands but not for long. Anderson had not recovered from the separation from his wife, which broke his heart, the smile seen in the picture had faded and he never again wore the same smile. he next joined hands with J. Hamilton Goines, a fine singer and a fine quality man like himself and quietly toured the country on the big time for over twenty years until his break down in New York which ended in his death. (Pitts C, 1/16/26 p16 picture)
.....Al Anderson, of Anderson and Goines, whose death was announced last week, was sad tidings to his western friends. His stage history will be reviewed in the next issue. Pitts C, 1/2/26 (10)
BROOMFIELD, LEROY
.....Partner of AURORA GREELY of the Famous Eastern dancing team, Pitts C 8/10/29 (3/2)
CHILTON AND THOMAS
.....Dancers of national repute who are being headlined at the Stanley Theater this week. The team sails on the Ile de France from New York on 12/6/29 and will open at the Pallidinn theatre, London for two weeks, upon their arrival. From there they will go to the Double Kit Kat Club in Berlin and then to Paris. Pitts C, 11/23/29 (3/2)
COLSTON, VIOLA
.....One of the dancing girls in Showboat", Amst News, 9/12/28, 6
DANCER, EARL
GREELY, AURORA
.....Partner to Leroy Broomfield of the Famous Easter dancing team. Pitts C, 8/10/29 (3/2)
RAHN, MURIEL
.....'Carmen Jones' adds triumph to Theatre. Afro, 1/1/44, p13
Tuesday, December 11, 2007
Conversations
CHARLOTTE WESLEY HOLLOMAN
Charlotte Wesley Holloman came from a musical family. Her father, Charles Harris Wesley (1891-1987) was a noted historian, educator, author, musician and minister in the African Methodist Episcopal Church. He developed an exceptional voice, which led him to sing with Roland Hayes and the Fisk Jubilee Singers as a student. In addition, he received a Master’s degree in history and economics from the graduate school at Yale University before beginning a teaching career at Howard University. Subsequently, he received his Ph.D. from Harvard University, making him one of the first African Americans to do so in History. Her mother, Louise Johnson, sang in the Howard University Choir as a student. Her late sister, Louise, was a pianist.
Mrs. Holloman studied piano at Howard University with Hazel Harrison. She graduated with a Bachelor’s degree in Piano, then obtained a Master’s degree in voice at the suggestion of her undergraduate voice teacher, Todd Duncan. After her concert debut at Town Hall in 1954, she studied and performed in opera in Europe for many years.
My conversation with Mrs. Holloman took place at her home in Washington., DC on August 18, 2007.
SP: Tell me about your career?
CH: I did not do a great deal of singing throughout the country until I made my concert debut at Town Hall in 1954. Apparently, it was quite an occasion for the newspapers and magazines. They were extremely taken by my concert, and I got some marvelous reviews.
SP: How did you become interested in music? Was it a part of your family?
CH: From the time I was able to touch the piano, I was taking piano lessons as an experiment at the age of three and a half. I took lessons from Camille Nickerson from Howard University, who was trying to do some pedagogy with some very young children. I stayed with her until I graduated from high school.
SP: How did your career progress?
CH: I graduated from Howard University with a major in piano. And, my senior year in college, my teacher for singing was Todd Duncan. I needed only one credit to graduate and I took singing. As a result of that semester, he suggested that I continue to study voice. I did, with several of his teachers. When I was getting ready to do graduate work, Mr. Duncan suggested that I consult both the piano and voice department to see if they would accept me as a major. I did and was accepted in both departments, but selected the voice department.
SP: Of course, Todd Duncan was a legend, the original Porgy in Gershwin’s Porgy and Bess. What was he like as a person? What was he like to work with?
CH: A fascinating person, and wonderful personality. His intellect was so great that you are fascinated from several standpoints; kept you laughing and enticed.
SP: While at Howard, you said that you studied piano for four years with Hazel Harrison. I might mention that the Library of Congress has a radio broadcast of a program called “Freedom’s People” (3/15/42), and on it Professor Harrison plays a selection entitled “Will O’ the Wisp.” Would you tell me about your relationship with your former piano teacher?
CH: I took my lessons very early in the morning. She would be practicing in her studio at three o’clock in the morning. Because I had my senior recital coming up, I went to her and said, “Miss Harrison, I don’t see how I can prepare myself for my recital, considering my class schedule as it is now”. She called everybody “baby.” She said, “baby, you live two blocks from here, don’t you?” I said, “yes ma’am.” Then she said, “now, you walk around the corner to my studio, and I’ll be here practicing starting at three o’clock in the morning. You come at five, practice until eight, and then we’ll have a lesson. We’ll do that everyday”. And, that’s how I prepared for my senior recital. She also said, “I’ll know when you’re not here because I won’t hear you.”
SP: Such a great story. Did you aspire to become a concert pianist?
CH: Not really. But I got coaxed into majoring in piano at Howard. I had been playing pretty well. Everyone had been pushing me to become a pianist, but I felt that there were others in the piano department who could play better than I. It sort of took the starch out of me, because I didn’t think that I was a very good pianist. But I had a sister who was a piano major who graduated from Oberlin. I thought that she was much better than me. So I had things that discouraged me. But at the same time, I felt it was what I could do best at that particular point.
SP: Did you come from a musical family?
CH: My father sang with the Fisk Jubilee Singers along with Roland Hayes from 1907-1911. After that, he, Roland Hayes, and a third male singer (I can’t recall his name), decided that they would form a vocal trio and tour the east coast as a way to finance their continued education. Mr. Hayes wanted to go to Boston and my father wanted to go to New Haven, Connecticut. When my father got to New Haven, he took a little time off from the group and applied to Yale University. He was accepted and also got a job waiting tables in the faculty dining room. So, that is where he received his Master’s degree. He was a singer, and he learned to play a little bit while at Fisk.
My first experience with singing occurred when I was about eight years old. Madame Lillian Evanti came to our house because my mother wanted me to sing for her. So, I did. Madame Evanti must have thought that I had a nice little voice. She said, “how nice.” But I thought that my singing was awful.
SP: Did your mother also sing?
CH: Yes. She was in the Howard University Choir. My father was already teaching there. While a student, she didn’t let too many people know who she was, because she didn’t want to embarrass my father. I distinctly remember her telling me that.
CH: Your father eventually became a Presiding Elder in the African Methodist Episcopal Church. When did he have time for his religious work?
SP: My father worked twelve hours a day and pastored on weekends. Back then, we lived in the parsonage that was in Georgetown. The church was right across the street from the parsonage. He also ran for the bishopic in the 1930s.
SP: Tell me about your career in Germany? Did you go over there because a lot of American singers felt that they had to have European credentials to be accepted as an opera singer?
CH: Yes. Another reason was that I needed experience with smaller opera companies. We did not have that kind of set up in this country at that time.
SP: You started out as a coloratura soprano, but later your voice changed.
CH: Yes. This occurs with age. My voice began to drop. I had a friend who would always say that I had a certain amount of fat in my voice. Well, it was there, and it gave my voice a richer sound.
SP: While you were a coloratura soprano, you performed an amazing feat. You sang simultaneous roles of “The Queen of the Night” and “The First Lady” in a German premiere performance of Mozart’s The Magic Flute. First of all, why did you do that and how?
CH: Oddly enough, I was cast as "The First Lady.” "The Queen of the Night” became ill during rehearsals. I had a lot of friends in the cast. When we were doing rehearsals, I was playing around vocally with the role of “The Queen of the Night.” Apparently, the news traveled to the Intendent of the theater. The next day, "The Queen of the Night,” who was originally cast for that role, was still ill. So, he said, “Charlotte Holloman, sing 'The Queen of the Night!’” So, I did. Well, he then put me under rehearsal for "The Queen of the Night” as a cover. She did not make the premiere performance. The morning of the dress rehearsal, they said over the loud speaker that I should come to the stage. So, I went to the stage and he said “we would like you to sing 'The Queen of the Night.’ And I said “well, who’s going to sing 'The First Lady?’” And he said “well, you’ll sing that too!” So, I did the premiere performance. I had about sixty seconds to come onto the stage as "The First Lady” and to come back on as "The Queen.” This feat had been unheard of!
SP: You have a member of your family on a postage stamp. How did that come about?
CH: On January 29, 1993, my uncle by marriage was commemorated as a chemist. His name was Percy Lavon Julian. His discoveries did a lot for life today.
SP: You spent several years in Germany. When you left there where did you go?
CH: I came back to the United States to teach. I didn’t do any more singing because I was discouraged that I could not stay in Germany. I wanted to stay and didn’t have funds. So, I came back and taught with the idea of going back. But I never went back.
SP: Do you still teach?
CH: Yes. I started out teaching in New York at Lehman College (CUNY). Then my parents took ill and I came to Washington and continued teaching there. I’ve done adjunct teaching at the University of the District of Columbia, Catholic University, Northern Virginia Community College, and now I teach full time at Howard University. I am still actively teaching, and I carry a rather busy schedule teaching at both the University of the District of Columbia and at Howard. I think I may have gotten my energy from my father.
SP: Madame Holloman, thank you for such an inspiring conversation.
SELECTED BIBLIOGRAPHY
My Darlin' Aida [Original, Musical]
Performer: Lilly
Performer: Charlotte Holloman [Singer] Oct 27, 1952 - Jan 10, 1953
The Barrier [Original, Musical, Drama]
Performer: Sally
Performer: Charlotte Holloman [Young Cora Singer] Nov 2, 1950 - Nov 4, 1950
----------
WILLIAM BENJAMIN RAY, SR.
By Sam Perryman
PROFESSOR WILLIAM BENJAMIN RAY, SR. was a faculty member at the University of Music and Dramatic Arts (Graz, Austria), Professor of Voice at Peabody Conservatory of Music at Johns Hopkins University (Baltimore, Maryland), and Professor of Voice and Head of the Voice Faculty at Howard University’s School of Music (Washington, DC) where he retired in May 2000. He was educated at Oberlin College; the Academy of Music (Vienna, Austria), and Heidelberg University (Heidelberg, Germany). He studied privately with Dr. Daniel Harris and Maestro Sergei Radamsky. His multi-faceted career in Europe included major opera companies, orchestras, oratorios, and stage and television engagements. In addition, he is the founder of Black Theater Productions of Stuttgart, Germany.
SP: Where were you born and what year?
WR: I was born in Lexington, Kentucky in 1925.
SP: Were you from a musical family?
WR: No. Not as far as I know. Family members sang in the local choir, as I did. However, I received lots of encouragement from members of the First Baptist Church in Lexington.
SP: Where else did you sing when you were growing up?
WR: Anywhere I received an opportunity.
SP: Who were some of your influences?
WR: There was Joanna Offord, who was a music teacher in the segregated schools in Lexington. She would come to our particular school once a week and lead the children in song. When she found out that I was doing solos, she became my unofficial accompanist. She invited me to her house to learn new repertoire, and correct my mistakes.
SP: When did you know that you wanted to become an opera singer?
WR: In High School. There was a non African American gentleman from Boston who would come to my house or to Ms. Offord’s house and teach me vocal technique. He was the soloist of a major white church in Lexington. Once, he asked his minister to allow me to be brought to the church to rehearse (so that I my voice could reverberate in the auditorium). The minister refused his request.
SP: How did you get started in opera?
WR: I finished High School and was drafted in 1943. After I was released from military service in 1945, I immediately enrolled at Kentucky State College to study pre-law (with the idea of later switching over to music). I thought that it would sound acceptable to my parents if I told them that I was studying pre-law since they assumed I would starve to death trying to launch an immediate career in opera. You see, at that time, there were no opportunities for black men to sing opera in this country.
At Kentucky State College, there was a woman by the name of Ms. Michaels, whose chorus I sang in at the college. She said to me, “we don’t have enough music for you here. Why don’t you go to Oberlin Conservatory? Carrie Kellog (my wife), William Brown and Sylvia Olden are there.” She continued naming students whom she thought I knew. I said,“ but I don’t have the music background.” She then said, “you’ll get it. Persevere. They’ll give you a scholarship based on your talent.” So, I went, auditioned, and got a scholarship. After a couple of semesters at Kentucky State, I transferred to Oberlin where I graduated from in 1952.
SP: How did you end up in Germany?
WR: After Oberlin, I went to Cleveland and began working at a social services agency. I also sang in the evenings with a theater company called Karamu. At one of our performances, there was an agent from Vienna in the audience. He came back stage and asked me if I would be interested in coming to Vienna to portray the role of the “Black King” in Menotti’s "Ahmal and the Night Visitors." He said that his company couldn’t pay for my transportation to Vienna, but I would receive a nice honorarium for my work once I got there. I talked it over with Carrie, and went to Vienna alone. During rehearsals there, agents talked to me about other engagements, such as doing a concert tour and singing on the radio with the Vienna Orchestra. Opportunities poured in. I felt confident at that time that I would remain in Europe, so I got in touch with Carrie (who was teaching music in High School in Cleveland) and told her to put our furniture in storage and bring our children to Europe. I had already paid six months on an apartment in Stuttgart, because I was working in that area for the radio and also preparing for an opera career on the side. That was the beginning of my European career that lasted for twenty five years.
SP: Tell me about the Black Theater Production Company that you established in Germany.
WR: I created the Black Theater Production Company as a teaching tool.
During World War 2, troops from many countries arrived in Germany. Many white Americans, some of who were racially prejudiced against Blacks at home, came also. As a result, the white Americans would impart their racial myths about blacks to the Germans, and subsequently, many Germans (though not all) would begin imitating the behaviors that racially prejudiced American whites portrayed against Blacks in America.
Because I knew that that was wrong (and ironic) for a Germans, I felt compelled to use the Black Theater Production Company as a way of putting on productions to bring home a lesson: that lesson was that oppressed people (Germans) should be the last to oppress others (Blacks). It was effective, because many Germans were able to reflect on their behaviors as a result of watching the productions that I sponsored.
SP: So, in a sense, you used the stage as a pulpit?
WR: Exactly. This was in Stuttgart. The actors were amateurs who would often get on stage and read scripts that were given to them. For example. a German actor in one of my productions played the role of a waiter in a restaurant. He went to a table where whites were (a black party was sitting at a table next to the table that he was waiting on), and he’d look at the blacks and frown. The audience sighed as they watched his behavior.
SP: Were you the only person doing this kind of work at that time in Germany?
WR: I was the only person who founded that kind of organization, but I had a lot of help from Germans and black American volunteers. But the idea was mine and it was based on my experiences.
SP: And how long did this company last?
WR: About twenty years.
SP: What are you doing now that you’re retired?
WR: Mainly, I adjudicate for several vocal competitions and teach voice privately. Occasionally, I am invited to educational institution to give talks.
SP: Why did you to retire from the concert stage when you did?
WR: At some point, when singing, I felt that I was no longer able to produce the sound that I once did. That was my cue to consider retirement from professional singing.
There are some folk who should retire (because of a natural deterioration of their voice which comes with age) but they continue. Leontyne Price had the insight to stop. One of her last operatic performances was a televised production of Verdi's "Aida," which was glorious. Her voice was at its top. In addition, she is an actress. Now, she had gotten some criticism for just singing and not acting at times; but not this time.
SP: Mr. Ray, thank you for an inspiring conversation
Charlotte Wesley Holloman came from a musical family. Her father, Charles Harris Wesley (1891-1987) was a noted historian, educator, author, musician and minister in the African Methodist Episcopal Church. He developed an exceptional voice, which led him to sing with Roland Hayes and the Fisk Jubilee Singers as a student. In addition, he received a Master’s degree in history and economics from the graduate school at Yale University before beginning a teaching career at Howard University. Subsequently, he received his Ph.D. from Harvard University, making him one of the first African Americans to do so in History. Her mother, Louise Johnson, sang in the Howard University Choir as a student. Her late sister, Louise, was a pianist.
Mrs. Holloman studied piano at Howard University with Hazel Harrison. She graduated with a Bachelor’s degree in Piano, then obtained a Master’s degree in voice at the suggestion of her undergraduate voice teacher, Todd Duncan. After her concert debut at Town Hall in 1954, she studied and performed in opera in Europe for many years.
My conversation with Mrs. Holloman took place at her home in Washington., DC on August 18, 2007.
SP: Tell me about your career?
CH: I did not do a great deal of singing throughout the country until I made my concert debut at Town Hall in 1954. Apparently, it was quite an occasion for the newspapers and magazines. They were extremely taken by my concert, and I got some marvelous reviews.
SP: How did you become interested in music? Was it a part of your family?
CH: From the time I was able to touch the piano, I was taking piano lessons as an experiment at the age of three and a half. I took lessons from Camille Nickerson from Howard University, who was trying to do some pedagogy with some very young children. I stayed with her until I graduated from high school.
SP: How did your career progress?
CH: I graduated from Howard University with a major in piano. And, my senior year in college, my teacher for singing was Todd Duncan. I needed only one credit to graduate and I took singing. As a result of that semester, he suggested that I continue to study voice. I did, with several of his teachers. When I was getting ready to do graduate work, Mr. Duncan suggested that I consult both the piano and voice department to see if they would accept me as a major. I did and was accepted in both departments, but selected the voice department.
SP: Of course, Todd Duncan was a legend, the original Porgy in Gershwin’s Porgy and Bess. What was he like as a person? What was he like to work with?
CH: A fascinating person, and wonderful personality. His intellect was so great that you are fascinated from several standpoints; kept you laughing and enticed.
SP: While at Howard, you said that you studied piano for four years with Hazel Harrison. I might mention that the Library of Congress has a radio broadcast of a program called “Freedom’s People” (3/15/42), and on it Professor Harrison plays a selection entitled “Will O’ the Wisp.” Would you tell me about your relationship with your former piano teacher?
CH: I took my lessons very early in the morning. She would be practicing in her studio at three o’clock in the morning. Because I had my senior recital coming up, I went to her and said, “Miss Harrison, I don’t see how I can prepare myself for my recital, considering my class schedule as it is now”. She called everybody “baby.” She said, “baby, you live two blocks from here, don’t you?” I said, “yes ma’am.” Then she said, “now, you walk around the corner to my studio, and I’ll be here practicing starting at three o’clock in the morning. You come at five, practice until eight, and then we’ll have a lesson. We’ll do that everyday”. And, that’s how I prepared for my senior recital. She also said, “I’ll know when you’re not here because I won’t hear you.”
SP: Such a great story. Did you aspire to become a concert pianist?
CH: Not really. But I got coaxed into majoring in piano at Howard. I had been playing pretty well. Everyone had been pushing me to become a pianist, but I felt that there were others in the piano department who could play better than I. It sort of took the starch out of me, because I didn’t think that I was a very good pianist. But I had a sister who was a piano major who graduated from Oberlin. I thought that she was much better than me. So I had things that discouraged me. But at the same time, I felt it was what I could do best at that particular point.
SP: Did you come from a musical family?
CH: My father sang with the Fisk Jubilee Singers along with Roland Hayes from 1907-1911. After that, he, Roland Hayes, and a third male singer (I can’t recall his name), decided that they would form a vocal trio and tour the east coast as a way to finance their continued education. Mr. Hayes wanted to go to Boston and my father wanted to go to New Haven, Connecticut. When my father got to New Haven, he took a little time off from the group and applied to Yale University. He was accepted and also got a job waiting tables in the faculty dining room. So, that is where he received his Master’s degree. He was a singer, and he learned to play a little bit while at Fisk.
My first experience with singing occurred when I was about eight years old. Madame Lillian Evanti came to our house because my mother wanted me to sing for her. So, I did. Madame Evanti must have thought that I had a nice little voice. She said, “how nice.” But I thought that my singing was awful.
SP: Did your mother also sing?
CH: Yes. She was in the Howard University Choir. My father was already teaching there. While a student, she didn’t let too many people know who she was, because she didn’t want to embarrass my father. I distinctly remember her telling me that.
CH: Your father eventually became a Presiding Elder in the African Methodist Episcopal Church. When did he have time for his religious work?
SP: My father worked twelve hours a day and pastored on weekends. Back then, we lived in the parsonage that was in Georgetown. The church was right across the street from the parsonage. He also ran for the bishopic in the 1930s.
SP: Tell me about your career in Germany? Did you go over there because a lot of American singers felt that they had to have European credentials to be accepted as an opera singer?
CH: Yes. Another reason was that I needed experience with smaller opera companies. We did not have that kind of set up in this country at that time.
SP: You started out as a coloratura soprano, but later your voice changed.
CH: Yes. This occurs with age. My voice began to drop. I had a friend who would always say that I had a certain amount of fat in my voice. Well, it was there, and it gave my voice a richer sound.
SP: While you were a coloratura soprano, you performed an amazing feat. You sang simultaneous roles of “The Queen of the Night” and “The First Lady” in a German premiere performance of Mozart’s The Magic Flute. First of all, why did you do that and how?
CH: Oddly enough, I was cast as "The First Lady.” "The Queen of the Night” became ill during rehearsals. I had a lot of friends in the cast. When we were doing rehearsals, I was playing around vocally with the role of “The Queen of the Night.” Apparently, the news traveled to the Intendent of the theater. The next day, "The Queen of the Night,” who was originally cast for that role, was still ill. So, he said, “Charlotte Holloman, sing 'The Queen of the Night!’” So, I did. Well, he then put me under rehearsal for "The Queen of the Night” as a cover. She did not make the premiere performance. The morning of the dress rehearsal, they said over the loud speaker that I should come to the stage. So, I went to the stage and he said “we would like you to sing 'The Queen of the Night.’ And I said “well, who’s going to sing 'The First Lady?’” And he said “well, you’ll sing that too!” So, I did the premiere performance. I had about sixty seconds to come onto the stage as "The First Lady” and to come back on as "The Queen.” This feat had been unheard of!
SP: You have a member of your family on a postage stamp. How did that come about?
CH: On January 29, 1993, my uncle by marriage was commemorated as a chemist. His name was Percy Lavon Julian. His discoveries did a lot for life today.
SP: You spent several years in Germany. When you left there where did you go?
CH: I came back to the United States to teach. I didn’t do any more singing because I was discouraged that I could not stay in Germany. I wanted to stay and didn’t have funds. So, I came back and taught with the idea of going back. But I never went back.
SP: Do you still teach?
CH: Yes. I started out teaching in New York at Lehman College (CUNY). Then my parents took ill and I came to Washington and continued teaching there. I’ve done adjunct teaching at the University of the District of Columbia, Catholic University, Northern Virginia Community College, and now I teach full time at Howard University. I am still actively teaching, and I carry a rather busy schedule teaching at both the University of the District of Columbia and at Howard. I think I may have gotten my energy from my father.
SP: Madame Holloman, thank you for such an inspiring conversation.
SELECTED BIBLIOGRAPHY
My Darlin' Aida [Original, Musical]
Performer: Lilly
Performer: Charlotte Holloman [Singer] Oct 27, 1952 - Jan 10, 1953
The Barrier [Original, Musical, Drama]
Performer: Sally
Performer: Charlotte Holloman [Young Cora Singer] Nov 2, 1950 - Nov 4, 1950
----------
WILLIAM BENJAMIN RAY, SR.
By Sam Perryman
PROFESSOR WILLIAM BENJAMIN RAY, SR. was a faculty member at the University of Music and Dramatic Arts (Graz, Austria), Professor of Voice at Peabody Conservatory of Music at Johns Hopkins University (Baltimore, Maryland), and Professor of Voice and Head of the Voice Faculty at Howard University’s School of Music (Washington, DC) where he retired in May 2000. He was educated at Oberlin College; the Academy of Music (Vienna, Austria), and Heidelberg University (Heidelberg, Germany). He studied privately with Dr. Daniel Harris and Maestro Sergei Radamsky. His multi-faceted career in Europe included major opera companies, orchestras, oratorios, and stage and television engagements. In addition, he is the founder of Black Theater Productions of Stuttgart, Germany.
SP: Where were you born and what year?
WR: I was born in Lexington, Kentucky in 1925.
SP: Were you from a musical family?
WR: No. Not as far as I know. Family members sang in the local choir, as I did. However, I received lots of encouragement from members of the First Baptist Church in Lexington.
SP: Where else did you sing when you were growing up?
WR: Anywhere I received an opportunity.
SP: Who were some of your influences?
WR: There was Joanna Offord, who was a music teacher in the segregated schools in Lexington. She would come to our particular school once a week and lead the children in song. When she found out that I was doing solos, she became my unofficial accompanist. She invited me to her house to learn new repertoire, and correct my mistakes.
SP: When did you know that you wanted to become an opera singer?
WR: In High School. There was a non African American gentleman from Boston who would come to my house or to Ms. Offord’s house and teach me vocal technique. He was the soloist of a major white church in Lexington. Once, he asked his minister to allow me to be brought to the church to rehearse (so that I my voice could reverberate in the auditorium). The minister refused his request.
SP: How did you get started in opera?
WR: I finished High School and was drafted in 1943. After I was released from military service in 1945, I immediately enrolled at Kentucky State College to study pre-law (with the idea of later switching over to music). I thought that it would sound acceptable to my parents if I told them that I was studying pre-law since they assumed I would starve to death trying to launch an immediate career in opera. You see, at that time, there were no opportunities for black men to sing opera in this country.
At Kentucky State College, there was a woman by the name of Ms. Michaels, whose chorus I sang in at the college. She said to me, “we don’t have enough music for you here. Why don’t you go to Oberlin Conservatory? Carrie Kellog (my wife), William Brown and Sylvia Olden are there.” She continued naming students whom she thought I knew. I said,“ but I don’t have the music background.” She then said, “you’ll get it. Persevere. They’ll give you a scholarship based on your talent.” So, I went, auditioned, and got a scholarship. After a couple of semesters at Kentucky State, I transferred to Oberlin where I graduated from in 1952.
SP: How did you end up in Germany?
WR: After Oberlin, I went to Cleveland and began working at a social services agency. I also sang in the evenings with a theater company called Karamu. At one of our performances, there was an agent from Vienna in the audience. He came back stage and asked me if I would be interested in coming to Vienna to portray the role of the “Black King” in Menotti’s "Ahmal and the Night Visitors." He said that his company couldn’t pay for my transportation to Vienna, but I would receive a nice honorarium for my work once I got there. I talked it over with Carrie, and went to Vienna alone. During rehearsals there, agents talked to me about other engagements, such as doing a concert tour and singing on the radio with the Vienna Orchestra. Opportunities poured in. I felt confident at that time that I would remain in Europe, so I got in touch with Carrie (who was teaching music in High School in Cleveland) and told her to put our furniture in storage and bring our children to Europe. I had already paid six months on an apartment in Stuttgart, because I was working in that area for the radio and also preparing for an opera career on the side. That was the beginning of my European career that lasted for twenty five years.
SP: Tell me about the Black Theater Production Company that you established in Germany.
WR: I created the Black Theater Production Company as a teaching tool.
During World War 2, troops from many countries arrived in Germany. Many white Americans, some of who were racially prejudiced against Blacks at home, came also. As a result, the white Americans would impart their racial myths about blacks to the Germans, and subsequently, many Germans (though not all) would begin imitating the behaviors that racially prejudiced American whites portrayed against Blacks in America.
Because I knew that that was wrong (and ironic) for a Germans, I felt compelled to use the Black Theater Production Company as a way of putting on productions to bring home a lesson: that lesson was that oppressed people (Germans) should be the last to oppress others (Blacks). It was effective, because many Germans were able to reflect on their behaviors as a result of watching the productions that I sponsored.
SP: So, in a sense, you used the stage as a pulpit?
WR: Exactly. This was in Stuttgart. The actors were amateurs who would often get on stage and read scripts that were given to them. For example. a German actor in one of my productions played the role of a waiter in a restaurant. He went to a table where whites were (a black party was sitting at a table next to the table that he was waiting on), and he’d look at the blacks and frown. The audience sighed as they watched his behavior.
SP: Were you the only person doing this kind of work at that time in Germany?
WR: I was the only person who founded that kind of organization, but I had a lot of help from Germans and black American volunteers. But the idea was mine and it was based on my experiences.
SP: And how long did this company last?
WR: About twenty years.
SP: What are you doing now that you’re retired?
WR: Mainly, I adjudicate for several vocal competitions and teach voice privately. Occasionally, I am invited to educational institution to give talks.
SP: Why did you to retire from the concert stage when you did?
WR: At some point, when singing, I felt that I was no longer able to produce the sound that I once did. That was my cue to consider retirement from professional singing.
There are some folk who should retire (because of a natural deterioration of their voice which comes with age) but they continue. Leontyne Price had the insight to stop. One of her last operatic performances was a televised production of Verdi's "Aida," which was glorious. Her voice was at its top. In addition, she is an actress. Now, she had gotten some criticism for just singing and not acting at times; but not this time.
SP: Mr. Ray, thank you for an inspiring conversation
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