Hutchinson Family Singers Web Site
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On April 6, 1846, the Hutchinson Family left London, heading north. Speaking of their singing, the Leicestershire Mercury of April 11 said, "what it wants in science, the singers compensate by their variety of intonation, by the light and shade they introduce, and by the clearness of their enunciation." In Loughborough, they met up with a throng of people in town for a temperance meeting. The quartet sang and Jesse gave an exhilarating speech. Their evening concert was a great success.
They visited Nottingham, Derby, and Swadlincote - where John said they received their warmest reception anywhere in England. Frequent published comments may be found, from this part of the tour, about large audiences and crowded halls. After three well-attended shows in Birmingham, John wrote, "On our return to Manchester
On May 16, the singers gave a "farewell" concert at Free Trade Hall. They were nervous about taking such a large room, until a crowd of
There's a good time coming boys, A good time coming, There's a good time coming boys, Wait a little longer. |
"The utmost enthusiasm," said the Guardian, "was manifested throughout on the part of the audience, who gave a hearty cheer at the termination of the evening's entertainments."
Now that the Hutchinsons had found their audience, crowded halls conspired with hot weather to make members of the quartet uncomfortably warm on stage. They had decided to leave England on July 4, and they began to long for the cool ocean voyage home. Each visit to a town could easily be their last, so they started bidding farewell to their many friends.
Early in June, the quartet was singing in Sheffield. As a rule those specific criticisms we possess, of Hutchinson Family performances, come from writers who were favorably impressed. An interesting example ran in a Sheffield paper. "When heard separately, the listener discovers that not one of the party possesses a really good voice, while the young lady does not make quite the most of the voice she possesses. She sings rather 'through her teeth,' as it is called, not permitting her organ to emit that clear open tone without which the finest execution in the world will never enable a person to sing well."
But it is in the harmony of the voices when blended together, that the strength of these singers lies. In this they are perfect. We never heard voices harmonize so beautifully before.
"[I]t cheered us very much, wrote John, to find ourselves": John Wallace Hutchinson, Story of the Hutchinsons (Tribe of Jesse), 2 vols. (Boston: Lee and Shepard, 1896), 1:190.
By far the most complete treatment of this pivotal period, from the quartet's 1842 "grand start" through the 1845-1846 United Kingdom tour, is to be found in Dale Cockrell, ed., Excelsior: Journals of the Hutchinson Family Singers, 1842-1846 (Stuyvesant, NY: Pendragon Press, 1989). Excelsior remains in print and is available from the publisher and from Amazon.com. Highly recommended reading.
"After three well-attended shows in Birmingham, John wrote": John W. Hutchinson (1896, 1:194).
When various reports of audience size differed, often John seems to have erred on the side of accepting the highest figure.
"They introduced what would become one of their most famous songs": "The Hutchinson Family," Staffordshire (England) Mercury, May 23, 1846.
"There's a Good Time Coming: Ballad," music: Hutchinson Family (Singers), lyrics: Charles Mackay, first line of text: "There's a good time coming boys, A good time coming" (Boston: Oliver Ditson, 1846).
Whether or not Charles Mackay coined the phrase, "the good time coming," after this the Hutchinsons associated it with their optimistic views of America's bright future.
"The utmost enthusiasm, said the Guardian, was manifested throughout": "The Hutchinson Family's Farewell Concert," Manchester (England) Guardian, May 20, 1846.
"When heard separately, the listener discovers": "Sheffield: Concert of the Hutchinson Family," Sheffield (England) Times, June 6, 1846.
One might infer from this notice that the author thought Abby had the best voice of any member of the quartet. Her singing style, as described in this review, would be right at home on any popular music stage.
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The Hutchinsons took delight in the sights along the way. "We went to Haslington," wrote John, "a small manufacturing
The Hutchinson Family's Old World tour was nearing its end. So after a stop at Langton, they returned to Manchester for one last goodbye. "We were receiving letters from all parts of the country," said John, "bidding us farewell, and were packing up preparatory to leaving for America." Then Jesse announced:
Grand farewell (and positively the last) concert of the Hutchinson Family, at the Free Trade Hall, Peter Street, Manchester (prior to their embarking for America) on Saturday evening, June 13th, 1846.
The audience was immense and the show was a great success. After the concert, they were surrounded by their friends.
On the 15th, the Hutchinsons left Manchester for an engagement in Liverpool. From there they left for about two weeks in Scotland, before sailing for home.
Back in Liverpool, famed writer Harriet Martineau had invited the Hutchinsons to visit her country home and sing at Ambleside. "The large room at the White Lion was engaged," she wrote, "and filled with benches so as to hold the greatest possible number - 200. As the time drew near, however, I met a shake of the head whichever way I turned. Every body was sure that many more than 200 people would want admission. People were coming from Bowness, Grasmere, Hawkshead, and even Kendal; and if they should be turned back from the door, how could they be expected to bear it patiently? And then the heat was
Going north from Liverpool, the singers traveled by railroad, stagecoach, and canal boat, and rode the last fourteen miles in a chartered barouche, arriving on the 16th. The village itself lay clustered in a valley, and Martineau's "cottage of rough stone" was near a beautiful lake.
"We went to Haslington, wrote John, a small manufacturing town": John W. Hutchinson (1896, 1:198).
"We were receiving letters from all parts of the country": John W. Hutchinson (1896, 1:198).
"Grand farewell (and positively the last) concert of the Hutchinson Family": "Grand Farewell" (Manchester, Eng.: J. Cheetham, 1846).
"The large room at the White Lion was engaged, she wrote": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
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Abby stayed at the cottage, while the brothers took quarters at a nearby hotel. Soon they visited the White Lion.
Then the brothers and sister stepped on the platform, [ said Martineau ] and tried the fitness of the place for music. What those few notes were to others I know
As she could not know what the Hutchinsons' sound check was to others, so we can never know what it meant to her. Martineau's hearing had been greatly impaired since childhood, and her health had always been frail. Now, feeling well after a lengthy illness, hearing the quartet's tight harmonies up close in a relatively confined hall, the experience must have been heavenly. Her sparkling account of their visit to Ambleside is among a handful of the finest and most beloved pieces ever written about the Hutchinson Family; and it gives wonderful testimony to the strong, favorable impression this experience made on her.
Martineau planned "a glorious country holiday." On Wednesday morning the brothers and sister started on an outing to a lake three miles away. In company with their host and her friends, they took a boat to the opposite shore, where they would be sheltered from the heat. As Martineau described the scene, "It was a gay little party, on the margin of a clear lake at the bottom of a basin of mountains, all green to the summit - dappled with woods and slopes, gay sunshine and deep shade."
"[H]aving no regular programme," recalled John, "things took their own course, of singing, running, dancing, wading in the stream, climbing the surrounding hills, piling up stones for landmarks and monuments and behaving much like little children on a picnic;
Harriet Martineau wrote, "Then
"Then the brothers and sister stepped on the platform, said Martineau": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
"As Martineau described the scene, It was a gay little party": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
"[H]aving no regular programme, recalled John, things took their own course": John W. Hutchinson (1896, 1:201).
"Harriet Martineau wrote, Then came . . . the grouping": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
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On Thursday, the Hutchinsons took a tour of the village and Martineau's farm. It was haying season, and they tried their hands at farm work. They found that English scythes were far heavier than their own, looked and felt unfamiliar, and were hard to manage. Finally they admitted defeat and gave it up.
About 300 people gathered at the concert site, while even more sat on the wall or found a place just outside. Abby remembered that she and her brothers hung their hats on bushes, mounted the temporary wooden platform, and began to sing. The music started around
"Our good lady sat at the right," said John, "about four seats back, and with her trumpet to her ear seemed to catch every sound, and was apparently enjoying the entertainment. About midway of the concert there came up a black cloud: the lightning flashed, the thunder roared and the rain fell, but not upon our audience. Still we could see it outside the apparently charmed circle. Soon the sullen rumble of the retreating storm could be heard in the distance."
How is it possible [ asked Martineau ] to give an idea of the soul-breathing music of the Hutchinsons to those who have not heard it? One might as well attempt to convey in words the colors of the sky, or the strain of the nightingale, as such utterance of the heart as theirs. One can only observe the effects. There was now hearty laughter, and now many tears. Nothing can be said of the interior emotions which found no expression.
The concert closed with "The Old Granite State." By all accounts, everyone involved in the visit and the entertainment had a splendid time.
The Hutchinsons dressed for the night-stage to Patterdale, ate supper, and said their goodbyes. Sitting in their carriage, they stopped the horses for one last moment, and, as Harriet Martineau wrote, "sent forth a sweet and most mournful chorus of farewell to me, in notes swelling and dying away in the still night
How joyously and delightfully passed each and every hour through that starlight, moonlight and twilight night, [said John] as we posted far away over the winding mountain paths leading toward our
"Abby remembered that she and her brothers hung their hats": J. F. D., "Some Old Friends," Boston Evening Transcript, May 9, 1885, p. 5 col. 1.
"Our good lady sat at the right, said John, about four seats back": John W. Hutchinson (1896, 1:202-203).
"How is it possible [ asked Martineau ] to give an idea": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
For Hartley Coleridge's verses to Alfred Tennyson in praise of Abby's performance of "The May Queen," see "The People's Journal," New York Daily Tribune, August 28, 1846, p. 2 col. 3.
"Sitting in their carriage, they stopped the horses": Harriet Martineau, "The Hutchinson Family in Grasmere," New York Daily Tribune, November 20, 1846, p. 1 cols. 4-5; originally published in the London People's Journal, n.d.
"How joyously and delightfully passed each and every hour": John W. Hutchinson (1896, 1:209).
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At five in the morning, the Hutchinsons switched from their chartered carriage to a regular stagecoach and started for Glasgow, where they arrived at
The eldest of the three brothers sung in a most delightful manner "The Lament of the Irish Emigrant." As we have already said of the peculiar manner of these Americans, this song was executed as though the singer had meant it only for his own pleasure; it was given as though his heart had poured out its deepest feelings in soliloquy.
The quartet gave concerts during this trip; but they did not let these engagements get in the way of the important business of taking in the sights of Scotland and making new friends. Finally they returned to Glasgow and then to Liverpool. The singers gave two shows, amidst a flurry of social gatherings - continuing their tradition of mixing business with pleasure.
When the Hutchinson Family stepped on board the Cambria on Saturday, July 4, many friends, including Frederick Douglass, came to say goodbye. During the voyage, they entertained at various gatherings, often singing nautical songs. After a stop at Halifax, when ice and provisions were taken on board, a meal of pork and beans reminded them they were almost home.
The Cambria arrived in Boston on Friday, July 17. According to The Republican out of Springfield, Massachusetts, "A Townsman, who stood on the wharf, at East Boston, when the Cambria came in, says that as the vessel was nearing her destination, the Hutchinson Family, who were among the passengers, struck up, 'Home Sweet Home,' and sang with thrilling sweetness and beauty that touching song."
While the Hutchinson Family was in Europe, as might be expected, new competition sprang up at home. Four children of Nathaniel Peabody Rogers formed a vocal group, in or around 1845 according to family tradition. The 1845-1846 concert season seems quite likely. That season, the Barker Family of Lynn organized a traveling company; and by June, a New York troupe called the Alleghanians was giving concerts. After the latter group's second New York appearance, the Tribune said:
The audience was quite large and every one seemed highly delighted with the evening's entertainment. Their style of singing is similar to that of the
This notice marked an auspicious beginning for a new group. Much closer to home, after the Home Branch disbanded, Brother Joshua launched his own singing career.
"[W]e expected to have our eardrum fractured and torn": "The Hutchinson Family," Glasgow (Scotland) Citizen, June 27, 1846.
"The eldest of the three brothers sung in a most delightful manner": "The Hutchinson Family," Glasgow (Scotland) Citizen, June 27, 1846.
William R. Dempster, "The Lament of the Irish Emigrant: A Ballad," lyrics: Mrs. Price Blackwood
"According to the Springfield Republican, A Townsman, who stood": "A Pleasing Incident," s.l.: s.n.
"Four children of Nathaniel Peabody Rogers formed a vocal group": Members of the Rogers Family quartet, from oldest to youngest, were Frances F. Rogers, Caroline P. Rogers, Daniel F. Rogers, and Ellen M. Rogers. John R. French, who married Frances Rogers, managed the company. The Rogers Family vocal group was not in the field for long, but it is of some special interest here nonetheless: group members were personal friends of the Hutchinsons, and two of them will surface again, in a musical context, in this story. Dr. Edward A. Kittredge said that the Rogers Family, who had no training and little concert experience, "sing not only with the spirit, but with the understanding also," the vocalists making themselves masters of the sentiments they sing. See Noggs
If you know of a photograph or other likeness or graphic representation of this Rogers Family vocal group and you would be willing to share your information, please e-mail us by way of the contact link near the bottom of the page.
"That season, the Barker Family of Lynn organized a traveling company": Information to the effect that this is the time the Barker Family concert troupe was organized came from a surprising source: one William Lloyd Garrison. See "The Barker Family," The Liberator, Boston, April 17, 1846, p. 3 col. 1.
"The audience was quite large and every one seemed highly delighted": "City Items," New York Daily Tribune, June 25, 1846, p. 2 col. 5.
Many small bits of information about the Alleghanians came to light in 2006 and early 2007. By all present-day appearances, this was a far more diverse, significant, and interesting enterprise than previously realized.
The Alleghanians vocal group was a very popular, long-lived company whose travels were far more expansive than those of the Hutchinsons. The group got enough press to make it possible, it would appear, to compile at least a rough outline of its tour schedule. This, in turn, would make further research more feasible.
The original lineup of the Alleghanians included James M. Boulard, Richard Dunning, and William H. Oakley, with soprano Miriam G. Goodenow quickly added to make a quartet. This foursome connected with Jesse Hutchinson, Jr., from late 1851 through 1852; and more about that grouping appears in a later chapter.
James M. Boulard, a founder of the original quartet, was the member who was with the Alleghanians the longest. In the 1860s, he was the group's leader and manager. Somehow in the late 1860s, then-business manager
A source which theoretically is available online but which, so far, has proven to be elusive says that the opera singer, Agatha States, was, at one time, the principal vocalist of the Alleghanians. This we pick up from search engine hitlists; and the report is quite plausible, though it looks as if confirming it with other independent sources may come hard. Meanwhile, for the benefit of Agatha States scholars, it is worth saying that major genealogy Web sites - the free version of Ancestry.com, FamilySearch.org, and Rootsweb.com - agree on her year of death and they have all gotten it wrong, evidently one hundred percent of the time. Various contemporary death notices, obituaries, and even at least one brief funeral report ran in newspapers in 1874. Clearly Agatha States died in 1874. Her birth year, 1841, may have been established from a single United States Census report. If this is so, it is to be treated with some degree of skepticism.
The career of the Alleghanians intersected with that of the Hutchinsons importantly but not often. So the group cannot get the attention here that it deserves to get somewhere. Nonetheless, Frank L. Benjamin, a former singer with a John W. Hutchinson-led group, later, in the early 1870s, signed on as music director of the Alleghanians. Looking into this event has produced unexpected results. By 1873, the Alleghanians had become a versatile, musically ambitious, and intriguing outfit. A collection of one member's papers has surfaced in recent years; and even as I am putting this chapter in near-final form, I am reading letters written much later in life by two singers from the 1873 Alleghanians roster, soprano Marie Packard and contralto Belle Durgin. Packard was the star singer in the group, while Durgin - who the band's publicity called a "musical prodigy" - may have possessed the more wide-ranging talents. Alleghanians publicity quoted the New York Tribune as saying, "Miss Packard has a voice so plaintive, sweet, and so easily controlled, and a charm and grace of manner so homelike, that we were almost in love with her 'at first sight.'" This Alleghanians lineup had as strong New Hampshire ties as did the Hutchinsons who sang "The Old Granite State" night after night.
This book, to the best of my knowledge, gathers together more information about the Alleghanians than does any other publication. It would be thrilling to be proven wrong, as this could make further research much easier. If you know of a previously published biography or history of the Alleghanians and you would be willing to share your information, please e-mail us by way of the contact link near the bottom of the page.
Page 6
The Hutchinsons counted this trip to Europe as among the brightest and most profitable of their career. Soon the singers were back in Milford for a delightful reunion with parents, sister, brothers, wives, and children. Amidst the joy of their reunion with loved ones, though, they received sad news. Ninety-three-year-old Andrew Leavitt was gravely ill, and he asked to see his roving grandchildren. When they arrived at his home, they found him resting. During this visit, Grandfather Leavitt told them, "I shall never see you again."
Andrew Leavitt died at Amherst, New Hampshire, on Saturday, August 29, 1846. "Mr. Leavitt was a respected master carpenter in his day," said the Farmers' Cabinet, "and the most of the houses built in this village of thirty years standing, are the workmanship of his hands." "He lived an honest, industrious life, and was respected by all who knew him."
"Mr. Leavitt was a respected master carpenter in his day": "Died," Amherst, NH, Farmers' Cabinet, September 3, 1846, p. 3 col. 3.
Do you know the exact date of birth of Andrew Leavitt? Do you know his place of burial? If you know either or both of these things and would be willing to share this information, please e-mail us by way of the contact link toward the bottom of the page.
Andrew Leavitt (1753-1846)
Behold the day of promise comes, full of inspiration The blessed day by prophets sung for the healing of the nation Old midnight errors flee away, they soon will all be gone While heavenly angels seem to say the good time's coming on
The good time, the good time, the good time's coming on The good time, the good time, the good time's coming on |
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