THE AUTHOR OF "CHEER, BOYS, CHEER!"

Otago Witness, Issue 1824, 5 November 1886, Page 33

THE AUTHOR OF "CHEER, BOYS, CHEER ! "

Probably the best known monument in Boulogne is the Napoleon column. Quite as familiar to the townspeople and residents is the face of Mr Henry Russell. But to the large number of persons who enjoy the acquaintance of the genial old gentleman of rather military appearance that face simply is welcome as the face of an agreeable friend. Few are aware that the white hat covers the head of a man who was a giant among entertainers, and one of the most successful English composers of our century, if lasting popularity may be considered the criterion of success.

Henry Russell made his reputation when comparatively a young man, and was entertaining as early as 1833. He is 73 years of age, and was born at Sheerness. " Yes, I started at Rochester, New York State, as an organist. The pay was a pittance. I determined to try New Tork. I made my debut there at the old music hall ; it was in that hall that all the best concerts were given. I may say now, and say it without brag, or what would be called in America ' blow,' that the effect of my descriptive songs was great from their very novelty, and certainly they did make an extraordinary impression — in a fact, furore. I made my pile quickly and easily, and I soon invested 30,000d0l in the United States Bank. The bank collapsed almost immediately, and my competence disappeared at one blow. I was again plunged into comparative poverty. One day I was walking along the New York Broadway ; I was nearly penniless and much depressed. I heard a man grinding one of my tunes on a barrelorgan. The organ-grinder was an Italian. I was pleased, naturally, and my pulse quickened. Had his organ been made in the States ? I addressed the man, •Di che parte venite tv ?' 'De Parma, sicnor.' 'Et gui a fatto quel organo ?' ' A Birmingham, signor.' Two of the airs the man was playing were 'Woodman, spare that tree' and 'The Ivy Green' — two of my airs. I grasped the situation. My songs had evidently become popular in England.

" I started for the old country at once. In three or four weeks I was offered a good engagement by Beale, the impressario. It was for a tour of six months. Piatti, Dohler, Lablache, and his wife were members of the company. The terms were munifioent; I need not say I closed with the offer at once. That tour was an enormous success. At its termination I was offered an engagement on still better terms. But I had determined to give an entertainment and to be my own master. My only predecessor in this line had been Foote, Dibdin, the elder Matthews, and Yates. I opened at the Hanover square Rooms — crowded houses followed. 'The Gambler,' • The Ship on Fire,' ' The Maniac,' were the talk of the town ; in fact I was a a great draw. My previous experience as an organist was of much service to me. lam of opinion that, the time being altered, any well-known sacred song is certain of popularity. Possibly the old tunes come back to us. I can give you several instances of this. The Hundredth Psalm played quickly produces • Old Dan Tucker.' Several of my best-known airs arose from this discovery. I remember that I first arrived at this conclusion when idly running my fingers over my organ-keys at Rochester, New York.

" I suppose I stirred the audiences considerably. On one occasion I was invited to Hanley to give a benefit entertainment for the Staffordshire potters, who were in much distress. After I had sung my song • There's a good time coming, boys; wait a little longer,' a man in the crowd rose excitedly and shouted • Muster Russell, can ye fix the toime ?' another artisan in the reserved seats stood up and quietly said ' Shut oop, man ; Muster Russell '11 write to ye ' At Newcastle-on-Tyne I gave the 'Gambler's Wife.' I may tell you that the wife is awaiting the gambler's return. The clock strikes 1, the clock strikes 2, and then the clock strikes 3. As the clock strikes 4 the young wife, clasping her child to her bosom, dies in hopeless despair. A woman stood up in my audience and emphatically declaimed in a shrill shriek, "O, Mr Russell, if.it had been me, wouldn't I have fetched him home ! "

In earlier days as Henry Russell was singing " Woodman spare that tree " an old gentleman cried, "Mr Russell, was the tree spared ? " "It was, sir." " Thank God for that ! " he answered with a sigh of relief. The realistic character of Mr Russell's songs, and the impression of actuality which they gave to the minds of the people is shown in another anecdote. On the " Newfoundland Dog " being sung, a piece which described the dog saving a child's life, a north country - man exclaimed, "Was the child saved, mon'J" "It was, sir." With the anxious look of c.ne asking a great favour, the man pleaded, " Could ye get me a pup ? "

When we consider that Henry Russell has written the music to 760 songs, the words of many having been by Thackeray, Charles Dickens, Charles Mackay, Tennyson, Longfellow, and we may add Tupper, it may well be said that in his day he was the bard of the people. Henry Russell has engraved these songs on the hearts of the English speaking race. His songs were as popular in the colonies and America as they were here • and popular they will remain. Probably such songs as " Cheer, boys, cheer " will never die. The composition of songs in Mr Russell's early days was not remunerative work. The composer got very small pay indeed, and royalties in those days were not. The great case of the " Old Armchair," words by Eliza Cook, music by Henry Russell, in fighting which immense sums were spent, is a weliknown instance of the commercial value of a popular song. Henry Russell, however, had never even heard of the suit. It is interesting to note the prices which he got for some of his most famous songs. For " The Ship on Fire" he was paid £1 Is; for "The Maniac," £1 ; " The Gambler's Wife," £1 ; " The Ivy Green," 10s ; " There's a good time coming, boys," £2; " Cheer, boys, chfer," £.3 ; " The Slave Ship," £1 ; Man the Lifeboat," 10s; "Woodman, spare that tree," 2dol. Over 200 Bongs were written by him gratuitously, Had i% not; been that he gang $he,

songs himself, and so conduced to their im- ' mense popularity, the payment for their com. ■ position would have meant simple starvation ' to him. Publishers, however t were not al-' • ways ungrateful. On going down to the shop of a music-seller to inquire how his song of " Cheer, boys, cheer," was going, the gratifying replying was, "We have 39 presses at work on it day and night." The publisherin this case did not forget the author, sending him a. ' a magnificent silver plateau with the simple inscription " Cheer, boys, cheer," and a hand- ■ some cheque. Mr Russell's success as a com- ■ poser of negro melodies is well known. After Rice's " Jump Jim Crow," his were the .most ' popular of 'all nigger songs. " Take your •■ time, Miss Lucy," " Buffalo Girls," and " Going ober de mountain " are examples. Henry Russell says that his great object in those ■ days of discontent was to make the ■ working man contented with the capitalist, and the capitalist appreciate the real value of the working man ; thus ' converting the music and poetry into ' the vehicle of common sense. He justly boasts that he was the apostle of emigration, and "To the West, to the West " was certainly the original cause of many a man's good . ' fortune in far-off lands. One of Henry Russell's anecdotes is too good not to be told,. • though it is pretty well known. Braham sang a very popular song, " Rest, weary tra- i veller," in the old opera of " The Travellers,"" then a great favourite. The following ihci--. dent took place at the old Leman street Theatre. Russell was present : — . , Seene — A forest, with village inn. , ■ Landlord discovered. Enter Braham. Landlord : What brings you here at this deadly hour of the night 1 Braham (mysteriously) : I have wap.dered here through this dense forest in search of one great object ; that object is my father. Landlord: Thy father? ' ' Braham : Yes, my father. Bot that voice ! I know its tones, they linger on. my ear with a musical sweetness that never can be erased from my memory. Landlord : What means this ? Braham (striding towards him, and offer- ! ing to embrace him) : Yes, you are my father ! Landlord : Nay, never ! lam not your father! Braham (piteously) : Then who is mv * father? J ' A little Jew now rose up in the pit. Hewas much agitated. "I knows him veil: his name vas Aby Punch, and he conies from. , the Lane" (Petticoat Lane). Braham, utterly staggered, stood still j, while the audience screamed with delight... The opera was played out to laughing crowds./ Many bore witness to the truth of the state- ,r ment, "We all knowed, but he's ashamed o£ it, he is."— World.