Daily Ohio statesman. [volume] (Columbus, Ohio) 1855-1870, 1867-10-31
0bio Statesnalr.
NEGRO rIINsTRELsY.
Its Origin-Stephen C. Foster-ssDa
dyn Rice-Foster,s Melodies.

Its OrigIn.-stephen c. Foster-ssDad
| dyo Rice-FOsterss Melodies. 90
In the November number of the Allan
tic Monthly there is an agreeable sketch
by r. z. Nevin, Esq, entitled stephen C.
Foster and Negro Minstrelsy." The writer
commences by referring to the origin o
negro delfneations on the stage, which were
! first introduced to the public thirty years
ago at the old frame theateI on Fifth street
Pittsburgh, the site of the present unoccu-
| pied theater, by the once popular T. d.
Rice. Mr.. Nevin relates how Rice induced
a negro porter. with immense mouth, EN-
| plOyed at Griffith's Hotel Wood street, to
accompany him to the theater on the night
he was to make his tir.t venture in lie Iro
| delineatiOn; how he prevailed on "Cuff "
to disrobe, and invested himself in the cast
off apparel: how he waddled upon the
stage, and sung 'Jim Crow" and created
the widest enthusiasm, receiving encore
upon encore; how Cuff, who was in a
rather nude state, behind the flats. became
excited on hearing that a steamer was ap-
preaching the wharf, and hurriedly whis-
pered to Rice, ''must have my close, Massa
Grffif wants me-steamhaat,s& &eomin,
and how Ricc, Intoxicated with success,
was deaf to all but the uproarious applause
in front of him, until "Cuff," who could
stand his suspense no longer, rushed
upon the stage in his undress, and seized
Mr.. Rice and eXcitedly demanded. "nigga's
hat, nigga's coat, nigga's shoes, nigga's
things" Next day, the writer says, Jim
Grow, in one style of delivery or another,
was on everybody's tongue-.'Clerks hum
med 1t serving customers at shop counters,
artisans thundered it at their tolls to the
time-beat of sledge and tilt-hammers. boys
whistled it on the streets, ladies warbled it
in parlors, and housemaids repeated it to
the clink Of crockery in the kitchen. Mr..
w. G. Peters, afterwards of Cincinnati, was
at that time music dealer on Market
street, Pittsburgh. and, at Rice's request,
he published Jim Crow, with piahO-iorte
accompaniment, the work being executed
by John Newton on stone, and was the
first specimen of lithography ever pro-
duced in Pittsburgh. Jim Crow was re-
peated nightly at the theater, until the
close OF the season, and when that was
ended. Beale's Long Room, corner Third
and Market. was engaged for rehearsals
exclusively in the Ethiopian line. Here
''Clar de Kitchen" T" Lucy Long" '' Sich
a Gittin up Stairs,o and so on, were pro-
duced.
Mr.. Nevin then refers to the organization
of minstrel bands, one of the earliest OF
which was that nnder the leadership of
Nelson Kneass, and known as the 'sSable
Harmonists." This company disbanded in
this city in 1S45, when Mr.. Joseph Murphy,
-
of the Arch street theater, Philadelphia,
determined to resume the business he had
laid aside on going upon the stage.
A certain Mr.. Andrews, dealer in con-
fections, cakes and ices, being stirred by a
spirit OF enterprise, rented, in the year
1S45, a second floor hall on Wood street,
Pittsburgh, supplied it with seats and small
tables, advertised largely, employed cheap
attractions-living statues. songs, dances,
etc, erected a stage, hired a piano, and,
upon the dissolution of his band, engaged
the services of Nelson Kneass as musician
and manager. Admittance was free, the
ten cent ticket required at the door being
received at its cost value within towards
the payment of whatever might be called
for at the tables. To keep alive the inter-
ests of the enterprise, premiums were of
fered, from time to time, of bracelet for
the best conundrum, ring with a ruby
setting for the best comic song, and a gold
en- chain for the best sentimental song
The most and perhaps only really valua-
bic reward-a genuine and very pretty sill
yer cup, exhibited night after night before
hand-was promised to the author of the
best original song, to be presented before a
certain date, and to be decided upon by a
committee designated for the purpose by
the audience at that time.
Quite large array of competitors en-
tered the list; but the contest would be
hardly worthy of mention, save it was the
occasion ofthe first appearance OF him who
was to prove the reformer of his art, and
to sketch of whose career the foregoing
is chiefly preliminary.
Stephen Collins Foster was born in AL
leghany. Pennsylvania, on the Fourth of
July, 1926. He was the youngest child of
his father, William B. .FOster-originally a
merchant of Pittsburgh, and afterwards
Mayor OF his native city, member of the
State Legislature, and Federal officer
under President Buchanan, with whom he
was closely connected by marriage. The
evidences of a musical capacity of no
common order were apparent in Stephen
at an early period. Going into shop one
day, when about seven years old, he pick
Ell up a f1ageolet, the first he had ever
seen, and cOmprehending, after an expert
ment, the order of the scale on the instru-
ment, was able in few minutes, uniD-
structed, TO play any of the simple tunes
within the octave with which he was ac-
quainted. A Thespian society, composed
of boys in their teens, was organized in
Allegheny, into which Stephen, although
but in his ninth year, was admitted, and
of which he became the leading attrac-
ton.
At thirteen years of age, he made his
first attempt at composition, producing
for public occasion at the seminary in
d
the time, the "Tioga Waltz" which, al
though quite pretty affair, he never
thought worthy of preservation. In the
same year, shortly afterwards, he COM
posed music to the song, commencing,
SADLY to mine heart appealing" now en-
braced in the list OF his publications, but
not brought out until many years later.
Stephen was boy of delicate constitu-
ton, not addicted to the active sports or
| ap Of ho xyino hob tC Of bor 6
his age. His only companions were few
intimate friends, and, thus secluded, his
character naturally took sensitive, med
itative cast, and his growing disrelish for
severer tasks was confirmed. AS has
been intimated, he entered as pupil at
Athens; but as the course of instruction
in that institution was not in harmony
with his tastes, be soon withdrew, apply
ing himself afterwards to the study of the
French and German languages "a ready
f1uency in both of which he finally acquir-
edo and especially to the art dearer than
all other studies. A recluse, owning and
soliciting no guidance but that of his text
book, in the quiet of the woods, or if that
were inaccessible, the retirement of his
chamber, he devoted himself to this art.
At the age of sixteen he composed and
published the song, "Open thy Lattice,
Love-" which was admired, but did not
meet with extraordinary success. In the
year following he went to Cincinnati, en-
tering the counting-rOom of his brother,
and discharged the duties OF his place
with faithfulness and ability. His spare
hours were sill devoted, however. to his
favorite pursuit, although his productions
we're chiefly preserved in manuscript, and
kept for the private entertainment of his
friends. He continued with his brother
nearly three years.
At the time Mr.. Andrews, of Pittsburgh,
offered silver cup for the best original
negro song, Mr.. Morrison Foster sent to
his brother Stephen copy of the adver-
tisement announcing the fact, urging him
to become competitor for the prize.