| Black Orchestras Part 5 |
| Sunday, 20 May 2007 | |
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Another Black pioneer in American concert music was Walter F. Craig (1854-1920), often referred to as Professor Craig. Craig “established himself in New York City as a leader of society dance orchestras. He also appeared throughout the country as a solo violinist” (Handy 1995:488). Born in Princeton, New Jersey, his family moved to New York City, where he attended grammar school. During the next decade, Craig won national and international appeal as a violinist and orchestra leader. His triumphs are rarely written of today. African-American professor and historian, Reverend William James Simmons, A.B., A.M., D.D. (1849-1890), a former slave who later earned a Master's degree from Howard University, cites Craig in his 1887 book, Men of Mark: eminent, progressive and rising. The book consists of 177 chronologically listed biographical sketches of people of color (Black Americans and non-Americans) who achieved distinction as “lawyers, doctors, authors, editors, divines, lecturers, linguists, scientists, college presidents, and such” (7). The purpose of the book was to prove that “the Negro race is still alive, and must possess more intellectual vigor than any other section of the human family, or else how could they be crushed as slaves in all those years since 1620, and yet today stand side by side with the best blood in America, in white institutions?” (7). Simmons’ written commitment to showcase Blacks’ achievements in the late 1880s reflect the unspoken disposition of the musicians themselves as seen in their compositions and distinguished personas. Simmons’ table of contents lists Craig as a “solo violinist – orchestra conductor.” In his sketch, Simmons writes: He [Craig] commenced the study of violin playing and music in 1868, and made his debut before a New York audience as a violinist at a concert in Cooper Union in 1870. From that time he rapidly improved, and organized the orchestra known as “Craig’s Orchestra” in 1872. He then gradually worked his way to the rank of a first-class musician and conductor, and now enjoys the honor of being the representative colored violin soloist and musical director of the race. His orchestra is quoted as being second to none, and his fame as a soloist extends throughout the entire United States and also some foreign countries (1887:451). Simmons’ description illustrates Craig’s impressive background, shared by few musicians at the time. (Other “musicians” listed in the table of contents are: James Trotter, who is listed as “Recorder of Deeds-Author of ‘Music and Some Highly Musical People’. Assistant Superintendent of the Register Letter Department, Boston, Massachusetts-Lieutenant in the Army”; “H.C. Smith, Esq., Prominent Editor-First Class Musician-Deputy Oil Inspector of Ohio-Song Writer-Leader of Bands-Cornetist”; “Henry F. Williams, Esq., Composer-Violinist and Cornetist-Band Instructor”; “Justin Holland, Esq., Musical Author and Arranger-Performer on the Guitar, Flute and the Piano Forte”; “Professor Newell Houston Ensley, Professor of Rhetoric and Sciences-Hebraist-Musician”; “William H. Gibson, Esq., School Teacher in Slavery Days-Musician-Mail Agent-Revenue Agent-Grand Master U. Br of Friendship”; “Professor Joseph Carter Corbin, A.B., A.M., State Superintendent of Public Instruction-Linguist-Master of Later, Greek, French, Spanish, Italian, German, Hebrew and Danish-Profound Mathematician and Musician-Organist, Pianist, Flutist”; “Blind Tom (Thomas Bethune), A Remarkable Musician-The Negro Pianist”). As previously mentioned, during the first two centuries of American history, Black Americans were enslaved, and most were prohibited from learning how to read or write, let alone play instruments. Even after emancipation, most black Americans were poor, inadequately educated, and oppressed. They preserved few diaries, letters or autobiographies upon which historians usually base their narratives. Therefore, Simmons’ personal texts, written during the lives of these notable musicians, scholars, and other professionals, serve to promote pride within the Black race, and to demonstrate a distinct and positive image and identity within the community. In addition to Simmons, Walter Craig’s performances were often written about in the local New York Age. This New York-based newspaper was founded by Timothy Thomas Fortune (1856-1928), an African-American orator, civil rights leader, journalist, writer, editor and publisher. The paper was first called the Globe, then the Freeman in 1884, and finally New York Age, the last of which ran under new ownership from 1907 until 1960. After a performance at the fourth annual Delph Social Club in 1891, a reporter from the popular Black-owned newspaper wrote: “Many old fashioned songs were sung by the quartet and encored. The chief feature of the evening was the prized waltz… The affair was attended by over 500 people and was a financial success. Prof. Craig’s orchestra played the music” (New York Age 23 May 1891:185). During the 18th and 19th centuries, most social clubs were comprised of the social elite. As such, this quote is missing any indication the organization’s racial makeup, whether this particular Social Club was exclusively White or Black. With such information, we would know that Black journalists were also allowed to integrate with White society as written in the New York Age. On the contrary, the premise that this Club would be comprised of people of color would indicate a rising Black aristocracy in the 19th century. Since this author could find no information on the organization, I will suffice to say that Craig was immensely popular. Any musician allowed to entertain a heavily-populated fundraising event such as this must have been well-known and trusted in society. From the 1893 New York Age: Mr. Craig has done much to break down the barriers of caste. He was the first musician of the race to be admitted to the Musical Union; he achieved a national reputation as a virtuoso of high order at a concert given in the Boston Music Hall, and has been recently elected a member of the great Dvořák’s Orchestra, of which he has been placed by the master himself, among the prime violins (Abbott & Seroff 2002:296-7). Craig’s membership in Dvořák’s (White, albeit highly accepting of other races--Dvořák was a cool Bohemian dude who wasn't caught up on the color of skin but on the expertise of all musicians) Orchestra illustrates his impressive musical prowess and his acceptance in the White community. The reporter’s reference to “break[ing] down the barriers of caste” also emphasizes the lawful embedment of 19th century racial order. Du Bois would later note that: “… between 1895 and 1909 the whole South disfranchised its Negro voters by unfair and illegal restrictions and passed a series of ‘Jim Crow’ laws which made the Negro citizen a subordinate caste” (Du Bois 1940[2002]:55). In addition to Craig’s musical achievements, the New York Age journalist states that Craig was considered “the first musician of the race to be admitted” into an all-White organization (emphasis added). Why was Craig’s race mentioned? Perhaps the Black-owned paper wanted to overemphasize the accomplishments by those in the race, to demonstrate the achievements made in the community. (See Black Orchestras Part 1 regarding the Plessy v. Ferguson debate for clarity on just how Black, “Black” really is. Furthermore, this particular mention of race when speaking of an American borne versus the omission of race when describing a foreign born American raises interesting questions regarding the social constructions of race itself.) During the 19th century slave society, racial integration and acceptance was an accomplishment in the Black community. Following an appearance at the African-American Theatre, Lexington Avenue opera house on October 29, 1886, a writer for the New York Freeman (later referred to as New York Age, see above) reported: “Professor William F. Craig, the young prince of Negro violinists, mounted the elevated platform and waved his bow over the twenty Musicians, and his enthusiastic admirers let forth a perfect storm of applause. The music was of the very best, and judging from the constant applause the musical appetites of the audience could not be easily appeased.” The positive reception that Craig received from this audience of his peers demonstrates his popularity in the Black community. It also exposes Black society’s acceptance of European culture, and their assimilation into White society. However, Craig was not neglected by the White community. Simmons writes: “When he appeared in Steinway Hall, January 20, 1887, the New York Herald said: Mr. W. F. Craig the violinist, is well known to New York audiences as a perfect master of his instrument. His performance of the “Fantaisie of Faust” and “De Beriot’s Seventh Air Varie” were marked by exquisite harmony, firm yet delicate” (1887:452). The Herald, a New York-based, White-owned newspaper that circulated between 1835 to1924, made no mention of Craig’s race as did the New York Freeman/Age. The Herald’s 1887 column demonstrated that Craig (like Johnson) performed repertoire by European composers, which was favorably looked upon by the White audiences. Another White-owned paper, the New York World (1860-1931), proves that, while Walter Craig was lauded in the media and his orchestra was contracted for private social functions, his reputation and fine musicianship were not enough to overshadow his race. On September 20, 1886, the New York World published: Walter F. Craig, who is from home visiting a sick relative, is the musician of the race. He was the first colored man who joined the Musicians’ Protective Union of this city. He is a composer and violinist and leads an orchestra reputed good. He is about twenty-seven years old, and was graduated from the seventeenth Street Grammar school. His orchestra furnished the music for the grand dramatic festival and full dress ball at the time when Mr. J. A. Arneaux appeared in the complete cast as Richard III, October 29, 1886, at Lexington Avenue opera house. In a style similar to Simmons’ writing, this Joseph Pulitzer-owned paper states Craig’s résumé, but goes further to give him a title: “the musician of his race” (emphasis added). Was Craig the only musician of color to achieve this level of professionalism? Probably not. Why then was he the sole musician of color whom this media deemed “the musician of the race?” The World’s reporter mentions that Craig was the first Black American asked to join the “Musicians’ Protective Union.” The Musicians’ Protective Union, founded in 1863, was one of many national labor unions for the musical profession around the country. The union voted on such concerns as wage scales and concert organizations, and served as a support system for professional musicians. One can only speculate as to the reason why Craig was allowed to join the racially segregated organization. At a time when race seemed to rule all other vocations and privileges, we may conclude that Craig’s race did not seem to affect his musical ability (as perhaps race in various musical genres seems to today. For instance, many young Black children think that classical music is for Whites only with many actually believing that they should/could/would not pursue a career in the Whites-only genre...), nor did it affect his public reception as demonstrated by his being hired. In this case, his race was overshadowed by his respected public persona thus allowing him to join the racially exclusive organization. Craig was not only a leader of his own orchestra in New York. He was also a member, often principle violinist, of the New Orleans-based Negro Philharmonic Orchestra (Trotter 1881:304). His dual duties in Northern and Southern states testify to his musical skill and popularity, as well as to his presence in the media. It's not like he had a Myrtle Hart Society to illuminate his accomplishments or a MySpace page to air sound clips of his performance abilities, right? So it's evident that he and other Black musicians at the time would not have shared as much national and international success without constantly performing and touring, and receiving positive media attention in abundance. Gotta be seen. Gotta spread the word. Craig's membership in two prominent Black American orchestras and his solo performance abiliities illustrates this point. More next week on the Negro Philharmonic Orchestra. STAY TUNED!!! |
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