Matilda Ann Kemp
Sex: F
Individual Information
Birth: 24 Mar 1834 - Wellfleet, Massachusetts 2
Baptism:
Death: 12 Oct 1888 - Wellfleet, Massachusetts 3
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death: ulceration and hemorrhage of bowels 3
Parents
Father: William Paine Kemp (1795-1859) 4
Mother: Nancy Atwood Ryder (1803-1873) 5
Spouses and Children
1. *Captain David Young Pierce (23 Oct 1823 - 23 Jan 1912) 6
Marriage: 11 Jan 1866 - Wellfleet, Massachusetts
Status:
Children:
1. James S Pierce (1867-1868) 7
Notes
Marriage Notes (Captain David Young Pierce)
Hattie W Kemp, Matilda's sister, a widow, lived with them in 1880.
Mattie Evelyn Kemp
Sex: F
Individual Information
Birth: 22 Jul 1873 - Wellfleet, Massachusetts 9
Baptism:
Death: Jan 1958 - Wellfleet, Massachusetts 10
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death:
Parents
Father: Captain Wells Emery Kemp (1826-1903) 11
Mother: Mercie L Atwood (1830-1884) 12
Spouses and Children
1. *John David Snow (26 Jan 1867 - 11 Jan 1958) 13
Marriage: 12 Apr 1909 - Hyde Park, Massachusetts 14
Status:
Children:
1. Howard Kemp Snow (1910-1985) 13
Notes
General:
Mattie Kemp?
Mehetable Waterman Kemp
Sex: F
AKA: Mehitable Kemp
Individual Information
Birth: 28 May 1836 - Wellfleet, Massachusetts 15
Baptism:
Death: 18 Dec 1904 - Wellfleet, Massachusetts 16
Burial: in Oak Dale Cemetery, Wellfleet 16
Cause of Death: carcinoma of stomach 17
Parents
Father: William Paine Kemp (1795-1859) 4
Mother: Nancy Atwood Ryder (1803-1873) 5
Spouses and Children
1. *Daniel Cole Newcomb (27 Aug 1824 - 23 May 1890) 18
Marriage: 6 Aug 1882 - Wellfleet, Massachusetts
Status:
Notes
General:
Deyo seems to call her Mary A Kemp, born 1828.Medical:
age 68-6-20
Nancy Atwood Kemp
Sex: F
Individual Information
Birth: 1 Sep 1827 - Wellfleet, Massachusetts 20
Baptism:
Death: 17 Apr 1846 - Wellfleet, Massachusetts 21
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death: consumption
Parents
Father: Wells Emory Kemp (1798-1868) 22
Mother: Huldah Bacon (1803-1851) 23
Notes
Medical:
age 18-7
single
teacher
b Wellfleet
d/o Wells & Huldah Kemp 24
Nancy Libby Kemp
Sex: M
Individual Information
Birth: 24 Aug 1847 - Wellfleet, Massachusetts 26
Baptism:
Death: 28 Dec 1916 - Wellfleet, Massachusetts 27
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death: carcinoma 27
Parents
Father: Captain Barzillai Kemp (1818-1901) 28
Mother: Paulina D Libby (1825-1852) 29
Notes
Medical:
age 69-4-4
Nannie A Kemp
Sex: F
AKA: Nancy A Kemp
Individual Information
Birth: 28 Feb 1859 - Wellfleet, Massachusetts 31
Baptism:
Death: 11 Mar 1934 - Wellfleet, Massachusetts 32
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death: broncho pneumonia
Events
• residence 33, with her parents, Wellfleet, Massachusetts in Wellfleet, Massachusetts
• Alt Birth 34, , Wellfleet, Massachusetts in Wellfleet, Massachusetts
Parents
Father: Captain Samuel Waterman Kemp (1831-1897) 35
Mother: Eunice Peake Newcomb (1832-1916) 36
Spouses and Children
1. *Arthur Herbert Rogers (1854 - 22 Aug 1941) 30
Marriage: 29 Dec 1880 - Wellfleet, Massachusetts
Status:
Children:
1. Herbert Kemp Rogers (1882- ) 37
2. Euna Waterman Rogers (1883-1951) 38
Notes
Medical:
age 76-0-12 32
Nathan Kemp
Sex: M
Individual Information
Birth: 19 Aug 1805 - Wellfleet, Massachusetts 40
Baptism:
Death: 26 Sep 1809 - Wellfleet, Massachusetts
Burial: in Duck Creek Cemetery, Wellfleet
Cause of Death:
Parents
Father: Thomas Kemp (1778-1847) 41
Mother: Sarah Snow Stevens (1784-1813) 42
Notes
General:
"In memory of Nathan Kemp, son of Mr. Thomas & Mrs. Sally Kemp, who died Sept. 26, 1809, aet. 4 years 1 month & 7 days.Medical:
'So fades the lovely blooming flower
Frail smiling solace of an hour
So soon our transient comforts fly
And pleasure only blooms to die.' " 43
age 4-1-7
Nathan Kemp
Sex: M
Individual Information
Birth: 21 Aug 1783 - Wellfleet, Massachusetts 44
Baptism:
Death: 5 Sep 1823 - Boston, Massachusetts 45
Burial: in Duck Creek Cemetery, Wellfleet
Cause of Death: drowned
Parents
Father: Captain Robert Kemp (1747-1816) 46
Mother: Anna Paine (1760-1843) 46
Spouses and Children
1. *Hannah Doane Wharff (18 Mar 1793 - )
Marriage: 28 Oct 1813 - Truro, Massachusetts 47
Status:
Children:
1. Sally Kemp (1814-1816) 48
2. Hannah Doane Kemp (1819- ) 48
3. Robert Kemp (1821-1897)
4. Nathan Thomas Kemp (1823- ) 48
Notes
General:
"Nathan Kemp was supposed to be drowned from a brig, at the end of Long Wharf Boston Sept 5th 1823."
"In memory of Mr. Nathan Kemp who died Sept. 5, [1823], aet. 40.
'--- faithful husband, tender parent, friend
Here rest in sweet repose till time shall end
Then make immortal and behold the day
Which honors saints and wipes their tears away.' " 49
Nathan Kemp
Sex: M
Individual Information
Birth: 15 Jan 1811 - Wellfleet, Massachusetts 40
Baptism:
Death: 2 Jan 1893 - Wellfleet, Massachusetts 50
Burial:
Cause of Death: phrenitis 50
Parents
Father: Thomas Kemp (1778-1847) 41
Mother: Sarah Snow Stevens (1784-1813) 42
Spouses and Children
1. *Eunice Wiley Atwood (24 Feb 1813 - 13 Jan 1851) 51
Marriage: 7 Dec 1834 - Wellfleet, Massachusetts 52
Status:
Children:
1. Sarah Stevens Kemp (1836- ) 53
2. Payne Gould Kemp (1837-1839) 53
3. Barzilla A Kemp (1839-1839)
4. Payne Gould Kemp (1840-1870) 54
2. Martha Amanda Shepherd (14 Mar 1826 - 12 May 1906) 55
Marriage: 25 Nov 1852 - Wellfleet, Massachusetts 56
Status:
Children:
1. Addie S Kemp (1853-1885) 57
2. Eunice Atwood Kemp (1856-1913) 58
Notes
Medical:
age 81-11-17Marriage Notes (Eunice Wiley Atwood)
children Barzilla and Payn (1) share a gravestone.
Nathan Thomas Kemp
Sex: M
Individual Information
Birth: 5 May 1823 - Wellfleet, Massachusetts 48
Baptism:
Death:
Burial:
Cause of Death:
Parents
Father: Nathan Kemp (1783-1823) 41
Mother: Hannah Doane Wharff (1793- )
Notes
General:
1853 mariner, Wellfleet
Olive Kemp
Sex: F
Individual Information
Birth: 25 Dec 1831 - Wellfleet, Massachusetts 59
Baptism:
Death: 2 Aug 1834 - Wellfleet, Massachusetts 59
Burial:
Cause of Death:
Parents
Father: John Emory Kemp (1789-1866) 60
Mother: Olive Higgins (1795-1873) 61
Olive Maria Kemp
Sex: F
Individual Information
Birth: 17 Apr 1839 - Wellfleet, Massachusetts 63
Baptism:
Death: 2 Jul 1911 - Wellfleet, Massachusetts 64
Burial: in Pleasant Hill Cemetery, Wellfleet
Cause of Death: valvular disease of heart 64
Parents
Father: William Paine Kemp (1795-1859) 4
Mother: Nancy Atwood Ryder (1803-1873) 5
Spouses and Children
1. *James Wiley (22 Dec 1834 - 1 Apr 1926) 65
Marriage: 2 Jan 1862 - Wellfleet, Massachusetts
Status:
Children:
1. Lillian A Wiley (1864-1947) 41
2. Alvin Lewis Wiley (1866-1952) 62
3. James Lawrence Wiley (1868-1919) 41
Notes
Medical:
age 72-2-15
Paulina Franklin Kemp
Sex: F
AKA: Lena F Kemp
Individual Information
Birth: 11 Jul 1875 - Wellfleet, Massachusetts 66
Baptism:
Death: After 1925
Burial:
Cause of Death:
Parents
Father: Thomas Franklin Kemp (1849-1926) 67
Mother: Sarah H Freeman (1852-1938)
Payne Gould Kemp
Sex: M
Individual Information
Birth: 14 Dec 1840 - Wellfleet, Massachusetts 54
Baptism:
Death: 1 Apr 1870 - Swampscott, Massachusetts 68
Burial:
Cause of Death: drowned 68
Parents
Father: Nathan Kemp (1811-1893) 40
Mother: Eunice Wiley Atwood (1813-1851) 51
Spouses and Children
1. *Jane Maria Lecount (17 Mar 1844 - ) 69
Marriage: 27 May 1861 - Wellfleet, Massachusetts 70
Status:
Children:
1. Kemp (1861-Cir 1861)
2. Alice Stevens Kemp (1862-1863)
3. Frederick F Kemp (1867- )
4. Payne Gould Kemp (1870-1872)
Notes
General:
1861 seaman, WellfleetMarriage Notes (Jane Maria Lecount)
1870 fisherman, Swampscott
1865 Mass. census, Wellfleet
Paine G Kemp and Jane M Kemp were living with her parents, with no children
1870 US census, Swampscott
Jennie W Kemp, 26 and Frederick F Kemp, 3, were living with her parents. Jennie was stitching shoes, with $100 property
Payne Gould Kemp
Sex: M
Individual Information
Birth: 12 May 1837 - Wellfleet, Massachusetts
Baptism:
Death: 26 Mar 1839 - Wellfleet, Massachusetts 71
Burial: in Duck Creek Cemetery, Wellfleet
Cause of Death:
Parents
Father: Nathan Kemp (1811-1893) 40
Mother: Eunice Wiley Atwood (1813-1851) 51
Payne Gould Kemp
Sex: M
Individual Information
Birth: 3 Sep 1870 - Swampscott, Massachusetts 68
Baptism:
Death: 24 Feb 1872 - Swampscott, Massachusetts 68
Burial:
Cause of Death:
Parents
Father: Payne Gould Kemp (1840-1870) 54
Mother: Jane Maria Lecount (1844- ) 69
Polly Gould Kemp
Sex: F
Individual Information
Birth: 10 Feb 1824 - Wellfleet, Massachusetts 72
Baptism:
Death: 22 May 1856 - Wellfleet, Massachusetts 73
Burial: in Oak Dale Cemetery, Wellfleet
Cause of Death: throat disease 73
Parents
Father: Samuel Kemp (1787-1856)
Mother: Sally Newcomb (1797-1868) 74
Spouses and Children
1. *Captain Isaac Freeman (19 Jul 1817 - 12 Nov 1886) 75
Marriage: 26 Nov 1843 - Wellfleet, Massachusetts 76
Status:
Children:
1. Mary Ellen Freeman (1850-1936) 77
Notes
Medical:
age 32-3-12
Polly G Freeman
b Wellfleet
(husband) Isaac Freeman
Priscilla Kemp
Sex: F
Individual Information
Birth: 10 Apr 1821 - Wellfleet, Massachusetts 78
Baptism:
Death: 29 Jun 1821 - Wellfleet, Massachusetts 78
Burial:
Cause of Death:
Parents
Father: John Emory Kemp (1789-1866) 60
Mother: Chloe Brown (1794-1821) 79
Notes
General:
Chloe and Priscilla were twins.
Robert Kemp
Sex: M
Individual Information
Birth: 4 Dec 1817 - Wellfleet, Massachusetts 78
Baptism:
Death: 6 Oct 1818 - Wellfleet, Massachusetts 78
Burial:
Cause of Death:
Parents
Father: John Emory Kemp (1789-1866) 60
Mother: Chloe Brown (1794-1821) 79
Robert Kemp
Sex: M
AKA: Father Kemp
Individual Information
Birth: 6 Jun 1821 - Wellfleet, Massachusetts 48
Baptism:
Death: 1897 - Charlestown, Massachusetts
Burial:
Cause of Death:
Parents
Father: Nathan Kemp (1783-1823) 41
Mother: Hannah Doane Wharff (1793- )
Spouses and Children
1. *Elizabeth Jane Alden (6 Apr 1824 - 25 Oct 1882) 42
Marriage:
Status:
Notes
General:
The picture of Father Kemp is courtesy of Don Dewey, a gg-grandson.
Robert Kemp organized a group of singers known as the Old Folks, who performed in concerts throughout the US, and in Britain. Robert was known as "Father" Kemp in the Old Folks. He was a shoe merchant and operated "Mammoth Boot and Shoe Store", at 792 and 794 Washington Street, Madison Block, Boston".
------------------------------------------------------------
Old Folks Concerts and the Revival of New England Psalmody
Judith T. Steinberg
The Musical Quarterly, Vol. 59, No. 4 (Oct., 1973), 602-619.
p. 604-615
The Origins of the Old Folks Concerts
Robert Kemp, a shoe merchant born in Wellfleet, Massachusetts, in 1820, is generally credited as the originator of the Old Folks Concert.(7) The first concerts are said to have occurred in 1854, but in his autobiography Kemp indirectly suggests that they began in 1856.(8) There are, moreover, accounts of revivals of ancient psalmody in 1854 and 1855 that do not mention him. It is thus possible that Kemp did not originate the custom of Old Folks Concerts, but rather professionalized a kind of social, amateur activity already known in New England.
There was a concert of "ancient psalmody" held in New Haven, Connecticut, in May, 1853. The pitch pipe that had belonged to Daniel Read was used by the choirmaster and "much of the music rendered was of his composing."(9) Another concert in New Haven was described in the Boston Musical Journal of February 15, 1854:
The 'Old Folks' Concert —
The following is a notice of the New Haven Journal of the concert by the "Old Folks" of that city:
The North Church presented an imposing spectacle on Wednesday evening. An audience of one thousand persons assembled to hear again the sacred songs of old time, which seemed to link together the old and young of three distinct and living generations with the spirits of a century gone by. It was a strange and thrilling scene — this mingling of the gray and venerable old sire with the young and beautiful of a fresher age, uniting the almost forgotten music of the once living who have passed away. Curiosity has long been satisfied, "Ancient Harmony" ceased to be a novelty, at least with us. ...
. . . The choir, composed of one hundred voices, under Mr. Linsley's efficient training, could hardly fail of singing well; and whether 'Sherburne,' or 'New Jerusalem,' or 'Montgomery,' or 'Majesty,' with their vast full tones sweeping along the verge of silence, or 'Greenwich,' or 'Delight' or 'New Jordan' with their pensive languor or diminuendo strains were in performance, their utterance seemed to be almost in 'tones divine/ . . .
But the whole concert was of peculiar interest. There was the old-fashioned arrangement around the gallery — the old-time pitch pipe we have heard before, ... the old fashioned fa, sol, la of the choir, in 'taking the pitch,' [This is a reference to the solmization practice associated with shape-note singing.] — the simultaneous outburst of harmony from a hundred throats, — the wild yet simple fugue — the singular inversion of harmonic rules in the interchange of parts and the firm and steady execution of a well-trained choir — it was all beautiful and all good. But the closing piece, 'Old Hundred/ was the final drop of ecstasy in that evening of delight. It will long haunt our memory like a glorious dream.
We learn that the prominent citizens of New York, . . . have invited this choir to give a similar performance in that city. . . . Our Hartford friends too are getting up an "Old Folks Concert," and they will eclipse us, if they can. But we have no jealousy in such a cause. Success to the "Old Folks" of our sister city!(10)
This account is extremely important in understanding the origins of the Old Folks Concert. It is not simply a description of a concert at which music of historical interest was performed in a historical manner. On the contrary; its fervent tone suggests the feelings of restoration that accompanied Old Folks Concerts; that although singing-school music had been depreciated by the musical establishment, it still commanded wide affection and respect among ordinary people.
Similar though less exuberant accounts of Old Folks Concerts appeared in some issues of the Massachusetts Musical Journal on June 15 and October 1, 1855.(11) On the first date the Journal reprinted a review from the Fall River Monitor of a concert at which eighty to one hundred instrumental and vocal performers "sang the good old tunes of the days of our fathers and mothers; . . . tunes, which though superseded by the more fashionable music of modern composers, not only have the true sing about them, but are most admirably adapted to the purpose for which they were intended." As for Old Folks Concerts in Boston, on August 20, 1855, the Boston Daily Evening Transcript wrote of one that was led by Deacon Gould.(12) It was held at Tremont Temple, one of the largest entertainment halls in Boston.
Finally, we cite one of the few comments found in Dwight's Journal of Music. In the issue of February 24, 1855, Dwight lists the following note under the heading of "Old Folks Concert":
A quaint and quizzical correspondent of the N. Y. Courier and Enquirer, writing from Boston about musical matters relates the following:
"In private we have plenty of music. Thanksgiving Day I attended a concert at which were performed among other choice pieces, — Edom by O. Holden, 1800. This must have been a very popular tune in the country. The imitated point is on the words 'He makes the grass and cor-or-orn to grow.' ... In short we do something in the way of music of the strictly K.N. school."(13)
"K. N." probably stands for "Know-Nothing." Certainly, the sarcastic tone is not surprising in such a journal as Dwight's in which only cultivated music was accorded sympathetic treatment.
The tone of the accounts in both the Boston and Connecticut newspapers and periodicals suggest that Old Folks Concerts were being performed by semi-professional rather than professional organizations. It is thus likely that the success of Kemp's troupe of Old Folks Singers was in part due to the fact that he did not have to create an audience. He simply and shrewdly took advantage of an area of public taste that up to that time had not been commercially exploited to any great extent.
Father Kemp and His Reading Old Folks
According to Kemp, the idea of reviving ancient psalmody arose as an entertainment for friends, while he was living in Reading, a town northwest of Boston:
Winter came, and with it the long evenings when the people in the country . . . depend upon social intercourse for their enjoyment . . . One evening I invited a few young people (singers) to pass the evening in repeating some of the popular songs of the day. ... It then occurred to me to revive old memories by singing some of the tunes which strengthened the religious faith of our grandfathers and grandmothers. . . . Accordingly, the country round about was thoroughly scoured, and every old singing book which could be procured was brought to my house, on the next evening of the sing. An odd collection they were . . . prominent among them was the noted Billings and Holden collection, the others made up of singing books of more modern date which contained old tunes. . . . These rehearsals attracted much attention in the neighborhood, and on the evenings set apart for them, the house was crowded with those who came to listen to the performances of the "old folks," as our neighbors familiarly called us.(14)
Public concerts in Reading and Lynn began in December, in either 1854 or 1855.(15) Emboldened by these successes, Kemp brought his group to Boston in March, 1856. They performed before packed houses at the Tremont Temple the entire month.
One reason for Kemp's huge popularity in Boston was that the singers, at that time called the Reading Opera Chorus Class, appeared in costume. The costumes were intended to evoke the era with which "ancient psalmody" was associated — the Revolutionary War period — because the concerts themselves were "demonstrations, a protest of the Old Folks against being ignored by their posterity."(16) At their first Boston concert, two hundred people from Reading traveled in costume to sit on stage with the singers. "Among the distinguished persons represented by the troupe were George and Martha Washington, John Hancock, Daniel Boone and Thomas Jefferson."(17) Of course, the costumes were also a good publicity gimmick, so good that the Old Folks often lost their sense of history, and dressed up in any kind of outfit that could arouse curiosity. Often in advertisements, "the 200-year old bonnet" worn by Mrs. Kemp got equal billing with the "Anthem for Easter" or "Sherburne."(18)
According to Kemp, the reviews in Boston were excellent. From the "kind notices" in the press he reprints praise of his company and the "good music" it performed.(19) Kemp followed his triumph in Boston with tours outside of New England. As the company developed into a professional troupe, they were often advertised as "Father Kemp's Old Folks," rather than the "Reading Opera Chorus Class" or "Society." Between 1857 and 1861 Father Kemp's company became a nationally known entertainment. They appeared in New York, Pennsylvania, and Rhode Island; they sang for President Buchanan in Washington D. C; on other tours they went to Indiana, Kentucky, and as far west as Madison, Wisconsin.
From Kemp's autobiography we can reconstruct the general format of his Old Folk's Concert. Before the concert began, the performers walked through the audience up to the stage, in order to allow closer observation of their costumes. The first number was often Auld Lang Syne, sung with new verses that allowed it to be retitled the "Song of the Old Folks." The first half of the program usually ended with Holden's "Coronation," for which the audience was requested to join in the singing. Kemp affected a quaint manner of speech and conducted the chorus with the mannerisms of the singing school, lining out the psalm tunes and announcing the meter before each number. During the intermission the troupe again mingled with the audience. The typical repertory usually included Easter Anthem, Ode on Science, "Greenwich," and The Dying Christian. The concert usually ended with "Old Hundred." Accompanying all the music was an orchestra, consisting of strings, horns, trombones, and flutes. Thus, the repertory of these concerts was mainly, but not exclusively, New England psalmody. Interspersed were national airs like The Star Spangled Banner, Yankee Doodle, La Marseillaise, and popular songs like The Dearest Spot on Earth to Me Is Home. The company included one outstanding solo singer, Emma J. Nichols, who often received special mention in reviews. An orchestra of strings, horns, trombones, and flutes accompanied throughout.
It is evident from this format that the Old Folks Concerts were intended as entertainments, not as musical substitutes for conventional church music experiences. There was no attempt to simulate any kind of sacred setting, but to simulate instead the old-fashioned singing school (or to recall the period in which it flourished). Thus Kemp freely mixed psalmody, popular songs, and folk tunes and ignored any prohibitions about instruments as accompaniments for sacred music.(20) Considering the rather eclectic nature of these popular entertainments, as well as the general contempt in which ancient psalmody was held, it was inevitable that the Old Folks Concert would engender considerable controversy in the musical press.
One periodical that was extremely hostile to Kemp was the New York Musical Review and Gazette, published by Lowell Mason, Jr., and Daniel Gregory Mason, two sons of Lowell Mason who naturally adhered to the views of their father. During 1857 and 1858 the Gazette contained extended attacks on Kemp and on the Old Folks Concert in general. Initially avoiding any direct attack on the music itself, they criticized the impropriety in singing religious music at a popular entertainment. On June 13, 1857, they wrote:
Not only are the Fathers of New England held up to ridicule, . . . but God and Christ . . . are treated with a high degree of irreverence. . . . But if there are any who suppose that sincerity is even intended, let them attend one of their performances and we think they will soon change their minds.
Kemp's appearance at Henry Ward Beecher's Plymouth Church on March 10, 1857, had already been reviewed as a case in point. In their "impartial account of the proceedings," the Mason Brothers on March 21, 1857, had written:
At length the "Old Folks" came — one by one they presented their uncouth forms to the audience, and as each one appeared in the gallery, he or she was greeted with shouts of laughter — indeed they presented a most ridiculous appearance, with their bushy wigs and long grey beards. . . . After the orchestra had seated themselves, (here let us remark, that our forefathers held a fiddle in holy horror, but their modern imitators thus impress upon their audiences that the violin was a favorite instrument in ancient church music!) a man clothed in a long-waisted calico coat, with immense buttons, a deep waistcoat, and knee breeches and stockings, with buckles on his shoes and an immense white wig upon his head, amd wearing a long white beard, reminding us in dress and action of one of Donizetti's trained monkeys, took his place.(21)
The concert was opened by 'Auld lang syne' performed by the orchestra. The leader . . . announced in a drawling voice 'Lennox,' — Ye tribes of Adam join, Hallelujah meter. ... At each announcement the speaker managed to get up a laugh by drawling the words and by ludicrous gestures. ... At length he announced an 'Anthem for Easter' . . . He made no remark on this piece at first and we really began to believe that he had the good sense and taste not to create a laugh upon these sacred words; but we were mistaken. Turning quickly to the audience ... he said . . . "This is one of our pieces which hasn't got no meter." . . . The eagerness with which the audience examined the costumes (during intermission) proved to our mind plainly that the love of music hadn't brought them to Henry Beecher's church.
It is difficult to believe that these are the same performers whose actions Boston critics describe as decorous and appropriate.
Some readers of the Gazette were skeptical about the accuracy of the report. In the issue of June 13, 1857, a letter from a reader who signs himself "Ohio" contrasts "our concerts out West and yours down East. . . . Here, the old folks, assemble together and pass an hour or more singing the music they were wont to sing in their youthful days." In their editorial reply the Masons attacked the singing school music for the first time.(22) They deny any intention of ridiculing old people but consider "the tunes sung on these occasions [to be of] very low character. ... It is deeply regretted that the early associations of any one should be connected with tunes coarse, rude, and uncultivated. . . . This revival of them ... is a caricature, a burlesque; it holds the old folks up to ridicule and contempt."
An almost identical dispute occurred a year later between the editors and a reader from Fulton, New York. This time the Masons criticized the coupling of the "Pilgrim Fathers" with Yankee psalmody, which is "trash, dating back to the commencement of the Revolutionary War; a very good and patriotic time indeed, but certainly not very musical."(23) Here as on the earlier occasion the defense of the Old Folks Concert had come from outside the city, from small towns that had established their own Old Folks Societies. The replies of the Masons reveal that the animosity they felt for this music was present from the beginning and no doubt prejudiced their earlier accounts of Kemp's concerts in New York. In spite of this kind of critical harassment, Kemp commanded considerable popular support in New York. So great was their success on their debut appearance in March, 1857, that they were subsequently burlesqued by Buckley's Serenaders, on May 22, 1857.(24)
After a series of successful "farewell concerts" Kemp took his troupe to England in 1861. Although reviews in the London Times were mildly favorable,(25) Kemp regarded the reception as a failure. He observed somewhat bitterly, "the English thought but little of the American people, or their music, especially the kind of music we sang."(26) Kemp returned to America in the spring of 1861 and resumed national tours the following season with a revamped company.
By 1868 Kemp claimed he had given over six thousand concerts and had been heard by over five million people. At that point he returned to his shoe store in Boston, limiting his professional activities to the "Monday Popular Concerts" which he conducted at the Tremont Temple until 1870. It is perhaps somewhat appropriate that like so many of the original singing school composers, Kemp was a musician by avocation rather than profession. As he said rather proudly at the end of his autobiography: "I never knew a note of music, and cannot distinguish a 'minim' from a 'demisemiquaver.' I flatter myself, however, that I can beat time with the most accomplished impresarios."(27)
The Music of the Old Folks Concert
The psalm tunes and anthems revived at Old Folks Concerts represented the most durable and most popular music of the New England singing-school repertory at that time. They were the pieces that people not too distant from their origins considered the best loved and the best known by their grandparents or great-grandparents. Some of these tunes, the most popular, were advertised in newspapers or mentioned in reviews. They include David's Lamentation over Absolom, Anthem for Easter, "Sherburne," "Majesty," "Ocean," "Coronation," "Northfield," and "Old Hundred," the last of course not a singing-school tune but a much older Protestant hymn.(28)
For information about the repertory being revived a source far more important than the advertisements is the three publications directly associated with Old Folks Concerts. The first collection was called Continental Harmony, published by Oliver Ditson in 1857. Quickly perceiving the increased market for singing-school music, Ditson had compiled his collection to compete with the fourth edi-tioji, of Whipple's Ancient Harmony Revived and had updated it by designing it "expressly for 'Old Folks Concerts.' " It included over three hundred selections, mainly psalm tunes and anthems but also a few patriotic airs. In the preface Ditson stressed the authenticity of his arrangements. By now this was a sales device rather than a statement of faith; his arrangements were copied from Ancient Harmony Revived for the most part.(29)
Continental Harmony was endorsed by Kemp as the conductor of the "Reading Old Folks Musical Society." Three years later Kemp was famous enough to encourage Ditson to issue a collection under his name alone: Father Kemp's Old Folks Concert Music. Most of the plates used were from the two previous editions of Continental Harmony and were simply reordered and renumbered to give the book a new cast.(30) This new collection was much smaller than Continental Harmony, containing only sixty rather than three-hundred-some pieces. It did include, however, more pieces in the category of "songs and other patriotic pieces" that were characteristic of Kemp's concerts.
The forty-five psalms and anthems represent the core of the Old Folks Concert repertory. These are listed in the table below (pages 616-617)[not included]. One sign of the stable popularity of these tunes is that twenty-seven out of the thirty-eight psalm tunes were included in the earlier Billings and Holden Collection of Ancient Psalmody; thirty-five were included in Ancient Harmony Revived. Daniel Read and William Billings are the two composers most heavily represented, Read with six psalm tunes and Billings with three psalm tunes and two anthems. Slightly over half of the psalm tunes are fuging tunes.
The authenticity of the arrangements is another matter of considerable importance. In Kemp's collection the tunes are in the tenor voice, as they should be. A comparison of the harmonizations here with those in Daniel Read's Columbian Harmonist, third edition (1806), and the Worcester Collection of Sacred Harmony (1800) reveals a high degree of fidelity. The occasional variants are usually in harmonic detail, with Kemp's arrangements using the more conventional chord.(31)
The songs and patriotic pieces in Kemp's collection included the national airs of France and England, and songs from the Revolutionary War. These were more or less appropriate for Old Folks Concerts, since they belonged to the era of ancient psalmody. However, the popular songs (e. g., The Dearest Spot on Earth to Me or Home of My Heart) were interpolations designed to add variety and widen the appeal of the concerts, but they diluted the original intent of Kemp's entertainments.
Throughout the 1860s the number of popular songs that the Old Folks sang increased. In 1868 Kemp compiled a collection called Father Kemp's Old Folks Sacred and Popular Songs. Most of the selections were popular songs, rather than folk songs or singing-school music. Among them were Minnie Clyde, Who Treads the Path of Duty, Will You Come to Meet Me, Darling? and a comic song that Kemp made famous, Johnny Schmoker.(32)
It seems, then, that during the 1860s "Old Folks Concert" denoted a type of entertainment that could encompass considerable variation. "Ancient psalmody" was probably included in the concert, but the proportions could vary widely. Popular songs and folk songs, perhaps even cultivated music,(33) could be performed. Thus Kemp's Old Folks Concert Troupe was not an isolated entertainment restricted to the revival of ancient psalmody, but rather one of a number of singing families, like the Hutchinsons, for example, active in America in the middle of the century.(34)
7. Waldo S. Pratt, op. cit., p. 25. Kemp's obituary in the Boston Evening Transcript, May 15, 1897, also calls him the originator of Old Folks Concerts.
8. Robert Kemp, Father Kemp and His Old Folks (Boston, 1868).
9. F. O. Jones, A Handbook of American Music and Musicians (Caseneraga, N. Y., 1886), p. 143.
10. The Boston Musical Journal, March 17, 1854, mentions other Old Folks Concerts that occurred in Hartford and New Haven. On May 16, 1854 there was an Old Folks Concert in Albany, N. Y. as a charity benefit.
11. This journal was edited by Eben Tourjee, who also conducted some of the Old Folks Concerts in Fall River. Tourjee later became influential in Boston musical life.
12. Deacon Gould was Nathanial Gould, author of Church Music in America and, as the Transcript put it, "almost the only survivor of the choir leaders of 50 years ago," by which is meant a singing-school master.
!3. Fuging tunes were often singled out for criticism by both musicians and church leaders. See Edwin Hall Pierce, "The Rise and Fall of the 'Fugue Tune' in America," The Musical Quarterly, XVI (1930), 214-28.
14. Kemp, op. cit., p. 16. Kemp's obituary in the Boston Evening Transcript gives a rather different account of the origins of the Old Folks Concert in Reading: "Both Kemp and his wife were musical people and formed a chorus to sing the better class of choral music. But the Reading people were hardly up to that class of music, and old songs and hymns were substituted" (May 15, 1897).
15. Kemp is deliberately evasive about the date of his first concert, giving the month, day, and place but not the year: Reading, December 15, 185-. In fact, the autobiography, while a rich source of information, is an account of events of interest without much regard to strict chronology. We might add that it does have historical value apart from its account of the Old Folks Concert. Kemp traveled around the country during a turbulent political period, the years preceding the Civil War. Many of the anecdotes regarding his reception in different states, the economic and social conditions in backwater towns, and his encounters with famous political figures, among them Abraham Lincoln and James Buchanan, are of general historical interest.
16. Kemp, op. cit., p. 30.
17. Ibid., p. 32.
18. An advertisement in the Boston Daily Evening Transcript, May 13, 1856, reads: "one sight of the venerable Chorister and his ancient-looking class in their Antique costumes is richly worth the money, to say nothing of the merits of the music of the Olden Times."
19. Kemp. op. cit., p. 34.
20. Kemp, op. cit., p. 49, reprints a review from an Albany newspaper: "To see such profane innovations as the fiddle, the flute, the horn, and the trombone introduced into a concert of sacred music, which we were asked to imagine was being given by our great grandmothers and grandfathers, was a terrible assault upon the imagination, which nothing but the excellent effect of these profane additions could reconcile us to. ... The devil has the very best music and if our church leaders of modern days would gather a hint from the effect of this instrumentation in making church music popular, they might turn the most effective weapons of Satan against him."
21. Kemp, op. cit., p. 38, comments on the different reactions the costumes of the troupe provoked from the audience: "I have often stood upon the platform while conducting the choir and watched the effect of some of the stirring old anthems upon the audience. While the young people would laugh and whisper together as if criticizing our odd costumes, the tears were trickling down the cheeks of those who were living over again their moments of youthful enjoyment."
22. The Masons were against the singing school as well as ancient psalmody. The whole thrust of Lowell Mason's work had been the professionalization of church music: to make it the province of the music educator and to replace informal decentralized institutions such as the singing school with systematic uniform public education.
23. New York Musical Review and Gazette, June 12, 1858. In this same article the Masons say of William Billings, "the arch 'fuguer' of them all ... knew about as much of the laws of harmony and musical composition as did Maezel's automaton trumpeter." For further letters and editorials see the issues of July 10 and 24, 1858; also Dec. 25, 1858, in which they predict the decline of Old Folks Concerts; also, June 11, Sept. 15, Oct. 1, and Oct. 29, 1859. In some of the later accounts the Masons take a more moderate position. On June 11, for example, they write of the "old-fashioned sterling tunes."
24. George Odell, Annals of the New York Stage (New York, 1927-1931), VI, 597. Kemp appeared in New York in 1858 and 1859 with similar success. In 1857 Odell calls them "a new sensation"; in 1859, the "craze of the year" (VII, 299).
25. London Times, February 11, 1861, gives them an innocuous review, ignoring the ancient psalmody and commenting critically on the costumes. Dwight's Journal of Music has a review of Kemp's London concerts in its March 16, 1861 issue. It contains similarly faint praise. It is ironic that Kemp had to go to London to be reviewed in Dwight's Journal.
26. Kemp, op. cit., p. 189.
27. ibid., p. 195.
28. These tunes appear, for example, in an advertisement in the New York Herald, March 30, 1858.
29. The preface contains an extremely pointed criticism of the practice of 'arranging' the psalm tunes: "Whatever may be said1 of the laws which governed our fathers in the arrangement of their musical ideas, none can reasonably deny the abounding evidences of inspiration found in the works referred to. Neither can it be said of the "old composers," that they made books by merely garbling the thoughts of others who wrote before them."
30. Plates in this collection (Kemp) often have three numbers, one appropriate to the edition and one that corresponds to the page number Continental Harmony, first edition.
31. E. g., "Lisbon" and "Coronation" are identical in Kemp and Read's collection; "Majesty," "Chester," "Northfield," "Russia," and "Ocean" contain minor variants, often involving raised or lowered leading tones.
32. This song was published without the authorization of either Kemp or the composer in 1863 by the Chicago firm of Root and Cady. It was described as "a Descriptive chorus harmonized and arranged by B. F. Rix and sung under the direction of Father Kemp's Old Folks." Listed in Harry Dichter and Elliot Shapiro, Early American Sheet Music (New York, 1941), p. 101.
33. New York Musical Review and Gazette, Feb. 7, 1857, cites an Old Folks Concert at which Mozart's Requiem Mass was performed by "one piano, one melodeon, one flute, one ophicleide, six violins, two bases [sic], one bassoon, and one clarinet."
42
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74. Robert Paine Carlson, Cape Cod Gravestones, 2003 ff. Eastham MA. CapeCodGravestones.com. .... Town records of Wellfleet, Massachusetts (Wellfleet, Massachusetts.), 1:65.
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79. Town records of Wellfleet, Massachusetts (Wellfleet, Massachusetts.), 1:58.