Editing Francis Johnson (composer) (section)

==Biography==
Francis "Frank" Johnson was born in [[Philadelphia, Pennsylvania]] on June 16, 1792, and baptized three months later at St. Paul's Episcopal Church on September 23.<ref>Jones, Charles K. (2006) Francis Johnson: Chronicle of a Black Musician in Early Nineteenth-Century Philadelphia. Bethlehem: Lehigh University Press. pp. 32-34. {{ISBN|978-0-934223-86-7}}</ref> He directed military bands and society dance orchestras, taught music, and performed on the violin and keyed bugle. His early career consisted of performing for balls, parades, and dancing schools. He first became widely known in 1818 when George Willig published Johnson's ''Collection of New Cotillions''. His career flourished in the 1820s, as he performed arrangements of "fashionable" music for most of the major dance functions in Philadelphia. In 1837 Johnson and a small ensemble of African American musicians sailed to England to take part in the celebrations surrounding the ascent of [[Victoria of the United Kingdom|Queen Victoria]] to the [[British monarchy|British throne]].{{Citation needed|date=May 2008}} While there, he was exposed to the [[The Proms|promenade concert]] style. When Johnson returned from England in 1838 he introduced this new style of concert in Philadelphia during the Christmas season.

[[File:Frank Johnson piano manuscript, 1820. The Library Company of Philadelphia.jpg|thumb|Frank Johnson piano manuscript, 1820. The Library Company of Philadelphia.]]

Johnson's ''Voice Quadrilles'', a musical work performed in London and in major U.S. cities, was well received and successful. His work ''New Cotillions and March'' was performed for [[Gilbert du Motier, Marquis de La Fayette|General LaFayette]], as America celebrated [[Visit of the Marquis de Lafayette to the United States|LaFayette's visit in 1824]]. A townsman in [[Philadelphia]] noted that nothing would be more natural than for a master such as Johnson to perform at the grand LaFayette Ball.{{Citation needed|date=May 2008}} This notoriety is a hint as to why Johnson's music was included in compilations alongside [[Ludwig van Beethoven|Beethoven]], [[Vincenzo Bellini|Bellini]], [[Johannes Brahms|Brahms]], [[Johann Friedrich Franz Burgmüller|Burgmüller]], [[Carl Czerny|Czerny]], [[Gaetano Donizetti|Donizetti]] and [[Carl Maria von Weber|Weber]].{{Citation needed|date=May 2008}}  When his Philadelphia brass band toured England in 1838, Johnson was able to play for Queen Victoria.  After playing for Queen Victoria, she presented him with a silver bugle.<ref>{{cite book|last1=White|first1=Deborah Gray|last2=Bay|first2=Mia|last3=Marin Jr.|first3=Waldo E.|title=Freedom on My Mind|date=2013|publisher=Bedford/St. Martin's|location=Boston|isbn=978-0-312-64883-1|pages=316–317|edition=1}}<!--|accessdate=November 18, 2014--></ref>

Johnson successfully rivaled white musical organizations, receiving patronage from the public in spite of the considerable racial discrimination of the time. Available accounts show that his composition and playing must have had qualities which cannot be reconstructed from the surviving manuscripts. Historical accounts suggest that his performances infused stylistic rhythmic changes, differing from the written versions, which were either inferred by performers or instructed verbally.{{Citation needed|date=May 2008}} This is presumed to be similar to the improvisations made by [[jazz]] musicians today, although the current practices and idioms are probably vastly different from the ones used by Johnson. He was able to create interesting music, harmonies, and effects that differed from the diatonic harmonies and triadic melodies that were popular at that time.<ref>Southern 112–113</ref>

[[File:Francis Johnson Historical Marker 536 Pine St Philadelphia PA (DSC 3519).jpg|thumb|Francis Johnson Historical Marker, Philadelphia PA]]

Johnson also performed sacred music at black churches in Philadelphia, New York, and Boston. He staged a performance of ''Creation'' in March 1841 at the First African Presbyterian Church in Philadelphia, and later repeated the performance at a European-American church.

Johnson served as a teacher to wealthy European-American students, one of whom wrote that the teacher's studio walls were covered with images of instruments, various instruments could be found around the room, and shelves were laden with thousands of musical collections. The student noted that Johnson's spot for composing contained unfinished manuscripts, with pen and ink ready for use.{{Citation needed|date=May 2008}}

After Johnson's death, the Frank Johnson Orchestra continued to play under that name led by Joseph Anderson Sr. with music arrangements by [[Henry F. Williams]].<ref>Schwartz, Richard I. The Cornet Compendium: The History and Development of the Nineteenth-Century Cornet. 2001. p120</ref>