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1856
Chapter 5 Part 2
The Chicago Tribune, speaking in April 1856 of former Alleghanians vocalist Miriam Goodenow Robb, said, "In the beginning of the present month she was in full health and vigor, surrounded by every earthly comfort that her heart could desire - a happy home, an affectionate husband, and a lovely child. In the brief space of a few days all is changed. She is dead and consigned to the grave."
Her passion for music was only extinguished by the cold hand of death
This Chicago Tribune obituary spoke of Miriam's "last illness," but it did not state her cause of death. Death in childbirth or from a complication appears to be a distinct possibility. The Tribune said that Miriam started the month with "a lovely child" - singular. But she was survived by two children: Ella A. Robb and Miriam G. Robb.
Miriam Goodenow Robb was famed for the wonderful use she made of her remarkably sweet voice, and she was also noted for her equally sweet disposition.
After the early death of Miriam Goodenow Robb, her widowed husband, Thomas Patten Robb, remarried to her own youngest sister, Mary Catherine Goodenow. Then these two began raising a family. A scattering of details give the impression that a certain glamour may have attached to this couple.
"The Chicago Tribune, speaking of former Alleghanians": "Obituary: The Late Mrs. Robb, Formerly Miss Goodenow," Chicago Daily Tribune, April 30, 1856, p. 3.
"After the early death of Miriam Goodenow, her widowed": Indications appear, here and there, suggesting that Thomas P. Robb may have been a controversial character. But as desirable as a biographical sketch of him may be, it is beyond the scope of this project at the present time.
Miriam Goodenow Robb (1829-1856)
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Thomas P. Robb had a diverse career, but he may be best remembered today for his work with war-time Illinois governor, Richard Yates. As Robb, himself, told the story, one day a
John W. Hutchinson of the Hutchinson Family was acquainted with both Yates and Grant, and he must have known Robb.
Hutchinson Family biographical materials present T. P. Robb, in 1852, as a Californian, and he spent late years of his life, as well, in that state. But at the time of the 1870 United States Census, Robb held a Reconstruction position at Savannah, Georgia. It is surprising and even amazing to find Robb's family, on their particular census sheet, as near neighbors of George Porcher Postell, the future first husband of John Hutchinson's future second wife Agnes. At least on the census sheet, only one household separated them.
In the late 1880s, the Robb's California home was on land closely neighboring property that, in the next century, would become the country estate of filmmaker Alfred Hitchcock.
Miriam Goodenow Robb and Thomas Patten Robb had two daughters. Sculptor Josephine Welles was their granddaughter. An image, which is currently being used on the World Wide Web to illustrate Josephine's work, is stunning, as the sculptor captured an amazing amount of life in a dead block of stone. Josephine married a very well known artist and art teacher, Frederick Richardson. Fred Richardson's talents and contributions obviously were quite diverse. And it is probably mostly a function of how little we know that Richardson, at this moment in time, seems to be best remembered as the illustrator of L. Frank Baum's Oz book, Queen Zixi of Ix. His advertising poster for Queen Zixi is perfectly wonderful. Of all of the late Miriam Goodenow Robb's known family connections, Frederick Richardson may actually be the most interesting.
"As Robb, himself, told the story, one day": John Moses, Illinois, Historical and Statistical (Chicago: Fergus Printing Co., 1889-1892), 1:646-647.
"Josephine married a very well known artist and art teacher": One of Josephine and Frederick's two sons was named Allan Barbour Richardson. It gets a bit trickier here. A full obituary or biographical article is badly needed. This Allan Richardson's age could be a little hard to square with a photograph which appeared in a 1957 issue of Life magazine. Allan B. Richardson would have been age 55 or 56 at the time the photo was shot, while the prevailing estimate, of those friends and acquaintancs I have consulted, is that the man in the picture was probably in his early 40s. Otherwise circumstantial evidence points to the son of Frederick and Josephine Welles Richardson being the Allan Richardson who, in spite of himself, was part of an important early influence on 1960s drug culture, the May 13, 1957, Life magazine article by Robert Gordon Wasson, "Seeking the Magic Mushroom." Citation: R. Gordon Wasson, "Seeking the Magic Mushroom," Life (magazine), May 13, 1957, starts on page 100. Vol. 42 No. 19. A small black and white photograph of Allan Richardson appears on page 109.
For one view of the influence of "Seeking the Magic Mushroom" on 1960s drug culture, see Paul Perry, On the Bus: The Complete Guide to the Legendary Trip of Ken Kesey and the Merry Pranksters and the Birth of the Counterculture, paperback (New York: Thunder's Mouth Press, 1990), 6-7.
"Seeking the Magic Mushroom" may seem, at first nibble, like a mighty strange article. It was written by a banker, Robert Gordon Wasson, who was something of an expert on hallucinogenic mushrooms - an uncommon combination right there, one would think. And, at first glance, Life magazine may seem to be an unlikely publication to run such a work. This piece became a legendary artifact of early drug-culture influence. But actually, "Seeking the Magic Mushroom" is a serious, thoughtful article that tells a story which is, and ought to be, of considerable scholarly interest to such fields of inquiry as anthropology, psychology, and the study of myths. I am a temperance man, myself, but I thoroughly enjoyed reading "Seeking the Magic Mushroom."
Allan B. Richardson had an older brother, David Welles Richardson, who was associated with a New York City investment firm. David Richardson and banker Gordon Wasson were the same age. One might wonder then whether Allan B. Richard may have become acquainted, through his brother David, with R. Gordon Wasson.
David W. Richardson was only in his 30s when he died.
Details need to be worked out; but, oddly enough, it is looking as though a line of sorts may be drawn from temperance singer Miriam G. Goodenow through Allan Richardson to Timothy Leary, Sgt. Pepper, and Claude Hooper Bukowski. Groovy.
The irony in this sort of wrinkle in a narrative is of great personal amusement and interest. Nonetheless, Allan B. Richardson appears to have been quite an unlikely consumer of hallucinogenic mushrooms; and I would not want to chew on this too much.
The Frederick and Josephine Welles Richardson family is interesting, to say the least. If you have information about a full obituary of Allan Barbour Richardson and/or a biographical sketch of him and you would be willing to share what you know, please e-mail us by way of the contact link near the bottom of the Web page.
"Of all of the late Miriam Goodenow Robb's known family": If you know of a good biographical article about Frederick Richardson and you would be willing to share what you know, please e-mail us by way of the contact link toward the bottom of the Web page.
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This was a busy time for past and present Alleghanians, as well as for certain group members yet to come who, so far, have not been introduced in these pages. Threads of the Alleghanians story, past and future, East Coast and West, were very much entwined in the middle months of 1856. The period was marked by relocations, a romantic come-on, childbirths, an early death, a joyous wedding, and, one might imagine, an equally delightful divorce. Each of these is at least one story unto itself; but the tale of the Alleghanians, strange to say, picks up again on the minstrel stage at the new Buckley's Opera House which opened on Friday, August 22, 1856.
A week and a half after the opening of the new Buckley building, the New York Times was able to report that "These admirable artists have been welcomed by overflowing audiences during the past week, and every one has expressed admiration of the New Hall." As grand as Metropolitan Hall had been, journalists and others were able to find grounds - some quite important - for faulting it. Not so for Buckley's Opera House. Evidently these days the Buckley family could do no wrong.
It is a remarkable fact, [said a New York Times writer] that while the Italian Opera languishes for lack of support, the real American Opera is in the most flourishing condition, as is evinced by the erection of this new Hall for the Buckleys. It is one of the prettiest and most conveniently arranged little theatres in the City, having a parquette and gallery capable of seating about
While the readily available evidence may not be overwhelming, quantity-wise, an observer might surmise, based on what is known, that one of the great needs for the Buckley company during the 1855-1856 concert season had been for a regular prima donna to star in their burlesque operas. What was wanted must have been a singer who could perform, at the very least, moderately challenging works, while engaging in convincing theatrics and artful tomfoolery. Starting in 1856, that position was brilliantly filled by Caroline E. Hiffert.
"A week and a half after the opening of the new": "Amusements," New York Daily Times, September 1, 1856, p. 4 col. 5.
"It is a remarkable fact, said a New York Times writer": "Apotheosis of Negro Minstrelsy," New York Daily Times, August 23, 1856, p. 4 col. 5.
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In his book, Yesterdays, in a simply delightful chapter about the influence of Italian opera on American popular song, Charles Hamm presented opera as being in a weakened condition on American stages after 1850. This development may not be apparent at first glance, for individual songs carved out of popular operas by all appearances had a lingering mass appeal and were, or would become, fixtures in the concert programs of many genteel tradition singers such as the Alleghanians.
It is worth taking a second look at a certain sentence about the then-current state of opera in the United States, quoted above, from the New York Times. "It is a remarkable fact, that while the Italian Opera languishes for lack of support, the real American Opera is in the most flourishing condition, as is evinced by the erection of this new Hall for the Buckleys."
A bit later, speaking more to the immediate occasion, the Times said, "The new burlesque version of Verdi's 'Trovatore' is the particular attraction of the moment, flanked with the very best kind of minstrelsy." Mid-19th-century minstrel shows generally had a reputation for lowbrow, often offensive fare. Anyone who is familiar with this reputation but who is, at the same time, unaware of Buckley's Serenaders ought to be totally astonished to be reading the critical praise this outfit often received. The Buckley troupe had built a world of its own, artistically, and a new house to showcase "the very best kind of minstrelsy."
The real American opera might have to wait for the Gershwins and Eleanor Everest Freer, but the early sparks of the Broadway musical comedy were to be found, without looking very hard, at Buckley's Opera House.
Rave reviews for Buckley's Serenaders and for the company's new hall were an embarrassment of riches.
These eminent artists [declared the New York Times] are in the flood-tide of success. Their new and magnificent hall (which is in fact a commodious and elegant theatre) is crowded nightly, and the comic version of the 'Trovatore' draws down thunders of laughter and applause. The Buckleys are eminently worth seeing.
"On Monday evening, Sept. 22, will be produced a grand burlesque on the opera Maritana, with Miss C. Hiffert as prima donna." Buckley advertising said, "This spendid Hall to be let in the day time for respectable concerts, lectures &c., &c." Notice this seemingly out-of-place use of the word, "respectable" - not the first word that normally comes to mind with regards to minstrel companies. And offering their hall as a space for lectures may have put the Buckleys in company with the Hutchinson Family, a troupe that enjoyed many lyceum bookings.
Advertising for Maritana the following week was a bit more informative. This burlesque would be produced "in three acts, with all the principal gems of the music, and
"In his book, Yesterdays, in a simply delightful": Charles Hamm, Yesterdays: Popular Song in America, 1st ed. (New York: Norton, 1979), 87.
"This development may not be apparent at first glance": Many songs excerpted from operas were very popular among genteel tradition singers and Victorian music fans. Several works of this sort, sung by the Alleghanians, date back to the 1840s. "Then You'll Remember Me" from the opera, The Bohemian Girl, with lyrics by Alfred Bunn and music by William Michael Balfe, is an important early example. It is a definite problem though that, at present, we seldom have solid information about when songs entered the Alleghanians' repertoire. As is the rule, not the exception in the case of this company, we are left to guess. But now there is excellent reason to understand that Carrie Hiffert was a member of the earliest Alleghanians quartet and/or quintet lineups. And she can be connected with several popular songs which were drawn from operas. So it seems highly likely that material of this type was included in Alleghanians concert programs in the years 1847, 1848, and possibly 1849. With luck and lots more research, we may know more later.
"It is a remarkable fact, that while the Italian Opera": "Apotheosis of Negro Minstrelsy," New York Daily Times, August 23, 1856, p. 4 col. 5.
"A bit later, speaking more to the immediate occasion": "Amusements," New York Daily Times, September 1, 1856, p. 4 col. 5.
Buckley's Serenaders is the subject at hand, and much reason exists to celebrate this company's efforts to combine the lively and ludicrous elements of the minstrel show with the respectable conduct and accomplished musicianship of the genteel stream in contemporary popular music. Note must be made, though, of the vast contribution of songwriter Stephen C. Foster toward the creation of a type of minstrelsy which could appeal to mass audiences. When it came to making minstrelsy respectable, the Buckleys were by no means going it entirely alone. Cf. Charles Hamm, Yesterdays: Popular Song in America, 1st ed. (New York: Norton, 1979), 136-139.
"These eminent artists declared the New York Times": "Amusements," New York Daily Times, September 8, 1856, p. 1 cols. 4-5 at col. 4.
"On Monday evening, Sept. 22, will be produced": "Buckley's Serenaders," Advertisement, New York Daily Times, September 19, 1856, p. 5 col. 6.
The opera, Maritana, was composed by an interesting and popular musician of those days, William Vincent Wallace.
"Buckley advertising said, This spendid Hall to be": "Buckley's Serenaders," Advertisement, New York Daily Times, September 19, 1856, p. 5 col. 6.
"This burlesque would be produced in three acts": "Buckley's Serenaders," Advertisement, New York Daily Times, September 22, 1856, p. 5 col. 5.
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Premiere presentations of hot new burlesques and eagerly-received returns of old favorites seemed commonplace these days at Buckley's Opera House. "All Moonshine; or, High Times in the Moon," no doubt a loony lunar "new musical extravaganza," opened the week of Monday, October 6. The New York Times, a week later, said the new Buckley musical "has met with unequivocal success." Advertising called this musical skit a "grand original new Moon-alogue" and announced that "George and Bishop Buckley will perform the miracle of annexing the earth to the moon."
It might be impossible, without having access to the book, to know what to make of the next production. An advertisement began with something vaguely like a parody of a news headline.
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A Voice From the Dismal Swamp Platform, |
"On Monday evening, Nov. 3, first night of the grand, original, musical, quizzical and comical parody in two acts and many new scenes, tableaux, machinery, new songs, duetts, choruses, &c, entitled the Dismal of Dread Swamp." A New York Times critic was not amused by this particular amusement. "It is 'Dismal' in more than name, and does not come up to the usual standard of the Buckleys, musically or facetiously." Whether the following is to be taken literally or as puffery or perhaps something else, Buckley's advertising two weeks later, for the week of Monday, November 17, said, "The wonderful sensation and the crowded audiences created by Dred; or, The Dismal Swamp, induces the management to repeat it all this
Certain landmark productions in Broadway musical history were thought, by critics, to be quite muddled. There may be no greater example than The Black Crook on the early end, while Hair was taken to be one big consciousness-altering mess a century later. So perhaps The Dismal Swamp may be seen as triggering a time-honored, tangled tradition on Broadway.
Late in November came a new burlesque of the popular opera, The Bohemian Girl, which produced happier results and, for the Buckleys, far more familiar results.
Carrie Hiffert was involved in a sacred concert at Buckley's new hall with members of the Buckley company on Sunday evening, December 14, 1856. Sunday night concerts of religious music in their hall is yet another example of how very unusual the Buckley minstrel troupe was. One of Carrie's sacred songs from this period was "Let Not the Sun Go Down on Your Wrath" with lyrics by Eliza Cook and music by Frederick Buckley.
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"Let Not the Sun Go Down on Your Wrath" Too often will the bosom, sternly proud, Bear shafts of vengence on its graveward path. Deaf is the teaching that has cried aloud: Let not the sun go down upon your wrath! Let not the sun go down upon your wrath! |
"All Moonshine; or, High Times in the Moon, no doubt": "Amusements," New York Daily Times, October 6, 1856, p. 1 cols. 3-4 at column 3.
"The New York Times, a week later, said the new": "Amusements" column, New York Daily Times, October 13, 1856, p. 4 col. 5.
"Advertising called this musical skit a grand": "Buckley's Serenaders," Advertisement, New York Daily Times, October 13, 1856, p. 6 col. 2.
"On Monday evening, Nov. 3, first night of the grand": "Buckley's Serenaders," Advertisement, New York Daily Times, November 3, 1856, p. 5 col. 6. It may seem that the title, Dismal of Dread Swamp, must actually have read, the Dismal or Dread Swamp. But a repeat check of my copy still shows the title to come across as it does in the main text of this booklet: Dismal of Dread Swamp.
"It is Dismal in more than name, and does not come": "Amusements" column, New York Daily Times, November 4, 1856, p. 1 col. 6.
"Whether the following is to be taken literally or": "Buckley's Serenaders," Advertisement, New York Daily Times, November 17, 1856, p. 5 col. 6.
"Late in November came a new burlesque of the popular": "Buckleys Serenaders," Advertisement, New York Daily Times, November 24, 1856, p. 5 col. 6.
"Carrie Hiffert was involved in a sacred concert at": "Grand Sacred Concert," New York Daily Times, December 12, 1856, p. 6 col. 2.
Nothing in particular seems to say how frequently the Buckleys held Sunday evening sacred concerts, but another such event was later announced for Sunday, January 18, 1857. Possibly these shows were monthly. I have since happened upon a Buckleys' Serenaders advertisement which announced a sacred concert for Sunday, March 29, 1857. Source: "Amusements: Buckley's Serenaders," Advertisement, New York Daily Times, March 23, 1857, p. 5 col. 6.
"One of Carrie's sacred songs from this period was": "Let Not the Sun Go Down on Your Wrath: Sacred Song," lyrics: Eliza Cook, music: Frederick Buckley, first line of text: "Father forgive us is our daily pray'r, When the worn spirit feels its helpless dearth" (New York: Wm. Hall & Son, 1857). Lyrics by Eliza Cook mark this song as being solidly in the "genteel tradition" tradition.
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Incidentally, many contemporary and retrospective sources agree that Frederick Buckley was an excellent violinist. Apparently composing music was also a real strength. Carrie sang a good number of his melodies during her time in the Buckley company. It would be interesting to know whether she continued performing Frederick Buckley's songs with the Alleghanians.
One thing that is really striking about Carrie Hiffert's tenure with Buckley's Serenaders is the very large number of scores published "as sung by" her at the new Buckley's Opera House or otherwise in connection with the Buckley troupe. This must have been one of the main peaks in her lengthy career. It would not be the last.
"Thus far the Lord hath led me on." - Isaac Watts
One of the main goals for this first edition of Voice and Spirit has been to lay the foundation for an eventual revised, greatly expanded second edition. Thus far the Lord has led us on. A full-length biography of the Alleghanians is very much needed, and it is starting to look feasible. Whether it would take the form of a traditional, hardcopy book or remain as a World Wide Web-only publication is yet to be seen. Either way, I am hoping many readers of these pages will keep an eye out for Voice and Spirit II. If it is possible to make a full-length Alleghanians biography happen, my plan is to do it.
Alan Lewis, August 14, 2007
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Then hail, dear Columbia, The land that we love, Where flourishes liberty's tree. 'Tis the birthplace of freedom, Our own native home. 'Tis the land 'tis the land of the free. Yes yes yes yes oh 'Tis the land 'tis the land of the free. |
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Brattleboro, Vermont: Published by the author. 2007.
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