The Geocities ads on the right side of your browser window can be pushed offscreen by clicking on the tab that's marked by a couple "greater than" symbols ( >> ).   We recommend doing it once the page is loaded.  If clearing the ads loses your place on the page, scroll up.

The Alleghanians announced a grand concert at the Athenaeum at 654 Broadway for each evening of the week of Monday, September 15, 1856.  We are not told the group's membership nor are we told whether it included a female voice.  Evidently shows had been going on for some time prior to these dates, though tour details are typically scarce.

A good deal more interesting news came in mid-December, when the Alleghanians announced a concert trip through the South and West with New Yorker Annie Kemp, a contralto, as a member of the group.  The New York Times said she "has made a favorable impression upon the New-York public by her performances at the soirées of the Mendelssohn Union and at amateur concerts during a year or two past."  Evidently the impression she made was indeed quite favorable.  In the spring of 1856, her singing at New York's Stuyvesant Institute, in a program of the American Music Association, was "vehemently encored."

Judged by Annie Kemp's absence from New York show listings, it seems likely she was traveling with the Alleghanians from mid-December 1856 or not much later to about March or April 1857.

After the tour with Annie Kemp, the Alleghanians seemed to vanish; and once again, concert bills and listings present William H. Oakley as formerly of the Alleghanians.  Since, time and time again, we are left to guess what happened, guess we shall.  Chances seem strong that the spring of 1857 is the point when Richard Dunning left the group.  Enough is known of the careers of Oakley and James M. Boulard that it would be hard to believe they did not have the heart to go on.  But if, say, Annie Kemp had other plans or if Oakley and Boulard, for whatever reason, could not come to terms with her, this and the loss of Dunning, combined, seems enough to have put the vocal group into temporary disarray.  We do not know that this is what happened.  It is only one of many possibilities.

Meanwhile, much was happening in 1857 for past, present, and future Alleghanians and their connections.  This is the year, for instance, that William N. States is said to have married Agatha.  Though their marriage was less than a total success, it seems likely he helped make her European music education possible.

1856 and 1857 must have been the peak years for the publication of scores "as sung by" Carrie Hiffert.  Her time with the Buckley minstrel troupe was doing her presence in the music business a world of good.

The name of Silas S. Steele was appearing as a writer of evidently distinguished burlesques for Buckley's Serenaders.

Page 2

Frederick Buckley married Fanny Brown on January 29, 1857, according to "Burnt Cork and Tambourines" at the CircusHistory.org website.  She had lately been appearing as an actress on Broadway at the new Burton's Theatre.  Apparently a separation of the new couple quickly followed, and this marriage was generally not mentioned in Buckley family biographical materials which were consulted in preparation for this work.  The wedding may have been a low-key affair.  The only reporting of it seen to date ran in the February 4, 1857, issue of the Long Island Star.

This Fanny Brown appears to be the actress by that name who subsequently mixed with the Bohemians, a short-lived though fascinating literary crowd  -  headed by former Jesse Hutchinson boarder Henry Clapp, Jr.  -  that met in colorful-sounding late-evening sessions at Pfaff's German restaurant in a Manhattan basement on Broadway near Bleeker Street.

A family history blog (Web log) declares that this Fanny Brown was the actress who achieved perhaps a little more fame than she would have wanted when her picture was found on the corpse of President Abraham Lincoln assassin John Wilkes Booth.

J. B. Packard, whose published works appear to have come mostly in the form of songbooks and hymnals, nonetheless had an 1857 score of his "Ella Lee: Song of the Southern Land" issued by Oliver Ditson & Co.

The printed sheet music of "O, Come to the Forest" said this piece was "composed, arranged and fraternally inscribed to his old friend, J. B. Packard, (of Boston, Mass.) by C. Marsh."

Mary Durgin started teaching music at age 15, according to letters she wrote to a niece in the mid-1890s.  An 1873 Alleghanians songster said that Mary received her music education when she was quite young, and her early entry into the world of teaching is further evidence for this, on top of her start as a featured vocalist in concerts well before she reached her teens.  Mary quickly learned that she did not know the answers to all the questions that arose during the lessons she taught.  As she put it, "[I] discovered many things to learn myself."  Mary taught music, as opportunity permitted, from this time to about the mid-1880s.

D. G. Waldron, who had a financial interest in the California publication Spirit of the Times, was traveling around the state and sending back news correspondence, while simultaneously managing several entertainment acts.

And as noted earlier, William H. Oakley was singing solo around the region once again.

An Alleghanians lineup of some sort came together sometime later in the year.  Though always a vocal group, in 1857 the Alleghanians diversified its programs with "wonderfully sweet music" by taking up the popular art of Swiss bell-ringing.

Page 3

Through parts of 1857, arguably the main Alleghanians action did not involve the group at all but, instead, was happening at Buckley's Opera House on Manhattan in New York City.  After all, by every appearance the Alleghanians became inactive for a time in 1857, while comic prima donna Carrie Hiffert starred in shows night after night.

On Monday, February 9, Buckley's Serenaders presented the "first night of the allegorical, operatic, patriotic and melodramatic sketch, entitled 'Honor to Dr. Kane; or, Affairs in the Arctic Regions.'  By the whole strength of the company."  At the end of advertisements came a note saying, "On Friday evening, Feb. 13, benefit of Miss C. Hiffert, on which occasion will be performed Lucrezia Borgia."

In mid-April the Buckleys were presenting what appears to be a comic send-up of Father Kemp and His Old Folks Troupe.  Advertisements came with a possible oddity.  They boasted of " . . . negro minstrelsy, in all its phases, with G. Swain Buckley and R. Bishop Buckley."  Why is Frederick Buckley not also named?   He appears to have been quite scarce around this time which, perhaps not incidentally, was a couple months after his wedding.

Then came reference to one of the main stars among these Serenaders.  "Wednesday evening, April 15, benefit of Silas Steele, author of the burlesques, &c., &c."  Around the time of the opening of the new Buckley's Opera House and for who knows how long after, this company was presenting new burlesques at an amazingly fast rate.  Silas S. Steele was at the creative heart of Buckley's Serenaders, writing short-form theatrical pieces as well as contributing song lyrics, &c., &c.

Next came what one would imagine was a sad event.  "Monday evening, April 20, farewell benefit and last appearance of W. Percival, upon which occasion he will perform The Baron in Cinderella."  It would be interesting to learn why William Percival left Buckley's Serenaders and what he was headed for next.  He had been a key player in the troupe.

On Saturday, May 23, 1857, Buckley's Opera House closed "in consequence of the great preparation for the production of Aladdin; or, The Wonderful Lamp.  It will be produced on Monday, May 25, with entirely new and correct Chinese Scenery, Dresses and Appointments.  National Characteristic Novelties, never yet produced upon the stage; the whole at a cost of upwards of Seven Thousand Dollars."

Evidently the Buckley's Aladdin was a considerable and amazing production.  The company's advertising for the week of Monday, May 25, 1857, spoke of a "Glorious Chinese feast of scenes, music, mirth and enchantment.  Monday evening, May 25th, first week of a grand original, musical, magical and semi burlesque spectacle of Aladdin; or, The Wonderful Lamp, by Silas S. Steele, with nearly twenty new, correct and generous Chinese scenes, by the celebrated artist, Mr. T. Bartholomew, of Boston; new, splendid and appropriate Chinese costumes, by Mr. Taylor; machinery by Mr. Droze; properties by Mr. Leak; original and characteristic Chinese music by Mr. F. Buckley; and the whole produced at a cost of upwards of seven thousand dollars."

Page 4

Composing this characteristic "Chinese" music may have been a part of what earlier was keeping Frederick Buckley busy and out of the public eye, at least as far as the Buckleys' advertising is concerned.

Company members would color their faces to get just the desired look.  Afternoon starts were planned to accommodate families and schools.  This Buckley company was definitely no ordinary minstrel troupe.

The week of Monday, June 15, was originally to have been the last week of Buckley's season.  Advertising noted "On Friday evening, June 19, a complimentary testimonial to Miss C. Hiffert."  For some reason, though, they extended their season for another week, with Carrie Hiffert featured in the "Sweep's Song," a piece she was noted for singing earlier in the decade.  The program concluded with an "Explosion on the Mississippi Steamboat."

Later, an advertisement proclaimed that "Buckley's Serenaders new hall, No. 585 Broadway, opposite Niblo's Garden, will open for five nights only, commencing Tuesday evening, Aug. 11, 1857."  After promoting spots in the show featuring Bishop, Swaine, and Fred Buckley, the ad announced that "Miss C. Hiffert, the celebrated vocalist, will appear.  Burlesque on the Hutchinson Family."

Advertising that week included this announcement:  "The Messrs. Buckley's respectfully announce to their friends and the public that this will be the last opportunity (for some months) of seeing them as Ethiopian performers, as they go West in a few days with an entire new entertainment in white faces."

These advertisements did not say explicitly that Carrie Hiffert would be traveling west with Buckley's Serenaders.  It appears, though, that she may have gone somewhere following her August shows with the minstrel troupe.  For many periods, Carrie's name appeared often, here and there, in advertisements for New York theatrical and musical productions.  After these August shows, it looks as though she disappeared from New York stages.

Buckley's Serenaders, in the meantime, returned to New York and reopened their hall for the winter season on Monday evening, December 21.  Newspaper advertising announced the "Return of the old favorites, Buckley's Serenaders, from Philadelphia, where they were nightly received by most brilliant and crowded audiences, comprising the beauty, the literati and fashion of the Quaker City."

Page 5

A song, "At Last I Am Engaged," is dated 1858 and was published "As sung by Miss Hiffert of Buckleys Opera Troupe."  One might surmise from this that Carrie Hiffert was singing at Buckley's Opera House in New York as late as the first weeks or even first months of 1858, though this is far from a sure thing.  What is known is that, by the summer of 1858, Carrie was singing in California as a member of the Alleghanians.

Whether the Alleghanians Vocalists and Swiss Bell Ringers traveled to California in 1857 or 1858 is, at present, unknown.  But none of the dates we have for the group, on this California tour, are any earlier than 1858.  Whether Carrie Hiffert traveled to the West Coast with the Alleghanians or met the company there is also currently unknown.

Summer 1858 news correspondence from California reported success for burnt-cork minstrels, while the actor's trade was "nearly gone."  This correspondence went on to say that, "At Sacramento, the Alleghanians, with Miss Hiffert, who is very popular, gave concerts last week, but did not draw as well as they deserved."  This last phrase is of some special interest, in that it could be evidence of a lack of promotion of the Alleghanians' efforts.   A career-shifting change in the group's booking and publicity arrangements was on its way.

The lack of readily-available details of this period in California is not at all surprising.  But this was a very important trip, and it is highly frustrating to know so little about it.  We do know from a diary which has been posted on the World Wide Web for close to ten years or maybe even longer that a party including Abels Helmans took in an Alleghanians concert at Yreka, California, and "heard some good singing."

This lineup of the Alleghanians was touring with "The Aurora Waltzes," piano music composed by Joseph Labitzky which this quartet was playing on the Swiss bells.  We were told that, back in 1846, it was the Alleghanians' "endeavor to please, not to astonish;" but handbell music of this nature possibly accomplished both.

"Robert Toi Que J'aime," a song whittled out of the Giacomo Meyerbeer opera Robert le Diable, was another notable piece from the Alleghanians repertoire during this long, wide-ranging tour.

Frank Stoepel, in 1859, published piano music titled "San Francisco Thrill: Schottische."  And no doubt San Francisco was a thrill in 1859 for these Alleghanians.

"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