reat importance
of organizing similar societies.

_Miss Celestine O. Browne_ of Jamestown, N.Y., possesses fine ability
as a pianist. She is thus mentioned by "The Folio" of Boston, in the
number for December, 1876: "She is a fine pianist, very brilliant and
showy as soloist and accompanist." Again: the same journal, in the
number for February, 1877, said of Miss Browne, "A pianist of great
merit. Her natural abilities have been well trained. She has a clear
touch, and plays with a great deal of expression." This lady has for
more than a year been a valued member of the Hyers Sisters
concert-troupe.

_Mr. Peter P. O'Fake_ is considered one of the most noticeable of the
musicians of Newark, N.J.; which is no slight distinction, since in
that city are to be found some of the first musicians of the country.
He was born there in 1820. His parents were also natives of Newark.
Mr. O'Fake is what is termed "self-taught," and has cultivated most
industriously, against many disadvantages, the talents with which he
was naturally endowed. He is a skilful, expressive performer on the
violin (his specialty) and the flute. He has, of course, often
performed in public. In 1847 he took a prominent part at a concert
given by the notable Jullien Society of New York, playing on the
violin _De Beriot's Sixth and Seventh Airs with Variations_. In 1848
he took position on one occasion as leader in the Newark-Theatre
orchestra,--a rare distinction for one of his race, on account of the
prevailing color-prejudice. In 1850 he performed in Connor's Band at
Saratoga, playing at times the cornet and flute. These are some of the
most notable of his public appearances. He is occasionally called upon
to take part in concerts given by the various musical organizations of
Newark, the accident of complexional difference but seldom serving to
counteract the effects produced by his well-known musical abilities.
He often furnishes the music for receptions given at the homes of the
_elite_ of Newark. Mr. O'Fake has composed, and his orchestra often
performs to the great delight of all who hear it, a most bewitching
piece of quadrille-music called "The Sleigh-Ride," in which he most
ingeniously and naturally introduces the crack of the whip and the
merry jingle of the sleigh-bells. At such times the dancers are
excited to a high state of joyousness by the bewitching music, the
latter being of a character so suggestive as to cause them to almost
imagine th