Portland Observer Section II February 26. 1981 Page 13
ensemble, was one of two Black musicians in Ihe
Walnut Theatre in Philadelphia (the other Black was his
brother) and taught and performed in Baltimore,
Philadelphia, and New York. He finally settled in New
York City.
HENRY F. W ILLIAM S (1813 - c. 1893, was born in
Boston and studied music there. As a young m an, he
lived in Philadelphia while a member of Johnson’s
Band, but he returned to Massachusetts to teach, com­
pose, arrange and perform in local bands and o r­
chestras. Williams arranged much of the music for
white bandmaster Patrick Sarsfield Gilmore. In 1872 he
performed under Gilmore’s direction in an orchestra of
2000 musicians at the World’s Peace Jubilee.
His compositions included a dance suite entitled
Parisien Waltzes ( 1854), the songs Lauriette (1840),
Come, Love and List A w/n/e (1842), It Was B.v Chance
We Met (1866) and / Would I'd Never Met Thee (1876).
Williams also composed polkas, mazurkas, quadrilles,
overtures and anthems.
Membership in Johnson’s Band gave to scores of
competent Black musicians fleeting fame and secure
employment during a time when classicism was gaining
in concert halls that featured Black performers.
J U S T IN HOLLAND (1816-86), born in Norfolk
County, Virginia, was the son of a farmer. Early deter­
mining that farm life in the repressive South was not for
him, he left for Boston at the age of 14. There, he
received his first guitar and flute lessons from two
members of Ned Kendall’s Brass Band. He attended
Oberlin College in 1841 to further his studies, and
moved to Cleveland, Ohio in 1845 where he began
teaching his guitar.
Holland's determination to achieve mastery of the in­
strument in the manner of the European artists led him
to study Italian, French and Spanish in order to study in
the languages(s) of the acknowledged Virtuosi. Further,
he felt unsatisfied with the verbal and written ex­
planations given as to the theory of the production of
harmonic tones on the guitar; consequently, he did
nothing for two week except observe the viberations
made when he plucked the strings of his instrument His
scientific research allowed him to become a widely
quoted authority on acoustics.
Holland arranged over 300 pieces for the guitar; most
of which were sent to him, unsolicited, by publishers.
The work for which he is chiefly noted is Holland's
Comprehensive Method fo r the Guitar 11874/; a stand
ard for many years.
Accolades came to him from Europe and America,
and it was adjudged to be the best prepared manuscrip
on the guitar. His second work, Holland's Modern
Method fo r the Guitar, was published in 1876. These
two books made him the authority on the guitar until
recent times; and in music catalogues, he was the expert
most often cited under the heading of Guitar Music.
ELIZABETH TAYLOR GREENFIELD (1809-76) was
born a slave in Natchez, Mississippi, but was adopted by
a kindly Quaker and taken to Philadelphia as a youth.
There, her mentor, Mrs. Greenfield, discovered the
remarkable beauty and purity of tone that her word
possessed in a clear, sweet soprano.
Although her religion forbade the inclusion of secular
music in the home, or the pursuit of such a career, Mrs.
Greenfield gave to Elizabeth as much support as she
could without compromising her principles. Upon her
death, she left Elizabeth a bequest in her will that
enabled Miss Greenfield to pursue her studies with
renewed and insatiable vigor.
Tabled “ The Black Swan,“ she began to acquire
some stage presence and professionalism by singing in
concert halls throughout the North and Canada. After
performing for the Buffalo Musical Association in
1857, she was favorably compared to the greatest
ELIZABETH GREENFIELD
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14410 S.E. D IVISIO N ......................... 761-8011
3 9 5 5 S.E. POWELL................................ 7 7 5-1853
N.E. 74»h & G L IS A N ........................... 2 5 3 -2 7 2 8
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