About the music.

For two hundred years America has The JCPenney Company hopes this Raymond Roth poured its heart and its history into music makes the Bicentennial more Director of Music its music. meaningful, more pleasurable, and University of Michigan more inspiring for you and for all those The JCPenney contribution to Amer­ you reach with your music. now and Joe R. Rulli ica's two-hundredth birthday party has long into the future. President, Wyoming Music been to recapture choic~ examples of Educators Association that music. never before published or long out of print, and to present them­ The BicentennialMusical Charles Suber, Publisher along with five newly-commissioned CelebrationAdvisory Board Downbeat Magazine works honoring the event-in this "Bicentennial Musical Celebration:· B. Neil Davis Gerald Tedesco Director of Music Director of Bands The Celebration is a gift from JCPenney Lakewood, Ohio, High School Wayne Valley High School to you-and to all the bands, choral Wayne, New Jersey groups and orchestras in America's Leonard dePaur high schools, colleges and Director, Community Relations John Wilson, Jazz Critic communities. Lincoln Center, New York Princeton. New Jersey

Three eminent musician-historian5:. Clement DeRosa Nelmatilda Woodard prepared the Celebration, assisted by District Director of Music Director of Music a distinguished Advisory Board. Dr. Cold Springs Harbor Schools Chicago Board of Education Richard Franko Goldman, president of Dix Hills. New York Peabody 1nstitute in Baltimore and President-elect, National Robert Zimmerman conductor of the famed Goldman Band, Association of Jazz Educators Director of Music directed the project and programmed Mowrey Elementary School the selections for band. Dr. Leonard Lehman Engel Waynesboro, Pennsylvania dePaur of Lincoln Center for the Per­ Theatrical Composer /Conductor President-elect, Eastern Division forming Arts in New York City New York, New York Music Educators Natl. Conference programmed the choral music. The orchestra selections were the respon­ Ri~hard"" Franko Goldman sibility of the late Thor Johnson. President, Peabody Institute conductor of the Nashville Symphony, Baltimore, Maryland whose untimely death occurred just as he completed his work. H. Wylie Hitchcock Director, Department of Music This booklet contains an introduction School of Performing Arts to each section of the Celebration­ Brooklyn College, New York band. chorus, orchestra-followed by notes on the individual works in each Robert H. Klotman section, as prepared by Drs. Goldman School of Music and dePaur. Three selections of the 35 Indiana University in the entire Celebration have been (President-elect, Music Educators arranged for all three types of per­ National Conference) formance; their program notes appear at the beginning of the band music Ralston 0. Pitts listing. Director of Music Mesa, Arizona, Public Schools In preparing your own program notes or announcements for any of these Albert Renna, Consultant pieces. it would be·greatly appreciated Director of Music (ret.) if they are credited to the Bicentennial San Francisco Board of Education Musical Celebration. Don C. Robinson Questions aboutthe Celebration should Director of Music be addressed to your nearest Fulton County Scj,ools JCPenney store. or to the JCPenney Atlanta, Georgia Company, 1301 Avenue of the President, Southern Division, Americas, New York, N.Y. 10019. Music Educators Natl. Conference April, 1975 This marked the beginning of the great Americanband music:a brief background. era of "proprietary" civilian bands of national rather than purely local impor­ tance. The era is well described in H.W. Schwartz's book, Bands of America. It was of course the time of Band music has always had great pop­ The oldest civilian concert band still John Philip Sousa; who became leader ular appeal, in America as well as in 'active in America was formed in Allen­ of the Marine Band in 1880, and formed Europe. town, Pennsylvania. in 1828, and many his own famous band in 1892, the year others flourished in the years follow­ of Gilmore's death. Most early bands were regimental lng. The leading civilian band in New units, or otherwise attached to the York was Dodworth's band, which The period from 1880 to about 1925 military-hence the long-lasting grew out of an independent band was the high point of prosperity and designation of most bands as "military formed in 1825. This was said to be the popularity for the professional tour­ bands." finest in the country before the time of ing band. Patrick Gilmore. What sets band music in America apart Nationalcivilian bands is the development of the civilian con­ The instrumentation of these early cert band du ring then i neteenth century, bands varied greatly, but many of them In addition to the internationally cele­ and the phenomenal rise of bands and became exclusively brass bands, gen­ brated Sousa Band, there were the band music in our schools and col­ erally consisting of 16 to 20 players, bands of D.W. Reeves, Innes, Brooke, leges in the twentieth century. including three percussionists. Conway, Creatore, Pryor and many, many others, including Victor Herbert. Today, while we still have splendid The 1830's and 40's were the heyday of Service bands and a few remaining the great virtuosi on the keyed bugle, Works by Sousa and Herbert are in­ professional concert bands, the chief of whom Ned Kendall was the most cluded in the Bicentennial Musical interest in band music and the greatest famous. The Celebration selection, Celebration as representative of this activity is in our schools and colleges. "The NewYork Light Guards Quickstep" period-the golden age of the march. Th is new focus for band music is a {1839), is an excellent representation Sousa included a number of his purely American development. of this period. marches on every one of his programs, often interspersing them between There is little documented information The firstgreat Americanbandmaster more "serio.us" numbers. about American bands before 1800, although there were many in New The first truly great American band­ The repertoires of all these bands York and New England. master was Patrick Sarsfield Gilmore. remained much the same as that of He was born in Ireland in 1829 and Gilmore's: transcriptions of overtures. Early bands arrived in Massachusetts in 1848. He operatic fantasies, light music of the was already famous as a virtuoso day, with plenty of cornet, trombone or The first American bandmaster of cornetist, and soon proved the vocal solos as well. In fact no band record is Josiah Flagg ( 1738-1794) of superiority of his instrument to the old concert was considered complete with­ Boston, who conducted the band of keyed bugle. out such solos. Stellar cornetists and the British 64th Regiment in 1771, and trombonists abounded and were of formed his own band in 1773. The Gilmore became leader of the Boston course great attractions. Massachusetts Band was formed in Brass Band in 1852, and of the Salem 1783, also in Boston. and became the Brass Band in 1855-both still brass These bands performed the great serv­ Boston Brigade Band in 1820. Later on, bands. ice of bringing to large numbers of it provided the nucleus for the famous people, long before radio or record­ Gilmore Band. It was not until 1859 that Gilmore took ings, some idea of "standard" musical over the Boston Brigade Band as a literature. This service should not be James Hewitt (see the note for "The mixed reed and brass group, and on underestimated; it was of much impor­ Battle of Trenton") was director of "all condition that it would henceforth be tance in building the musical resources the military bands in New York." known as "Gilmore's Band." and awareness of a young America.

Little is known about the instrumenta­ The original Gilmore Band consisted of A New Repertoire tion of these groups, except that they 32 players. Gilmore rehearsed the band With the growth of orchestras in were small compared to modern bands. carefully, established a.basic instru­ Almost none of the music they played mentation that is still the foundation of America, and especially the develop­ was ever published, except as sheet the modern band, and began to develop ment of radio and recordings, it was music for the piano. The arrangements a library and a repertoire far in advance obvious that the band must eventually were made according to the occasion of anything then known in this country. create a new repertoire of original and the number of instruments He may truly be called the father of music of its own. That it did so was available. the modern American concert band. largelyduetotheworkof Edwin Franko Goldman, whose professional band, Gilmore did not compose a great deal, founded in 1911, may be said to have What they played was marches, dances and none of his music is available carried on the work of his great pred­ and light popular music of the day. It today. But with him in mind, it is most ecessors. was not until the 1830's that the band appropriate that the Bicentennial Musi­ repertoire came to include transcrip­ cal Celebration includes a character­ Especially since the 1930's, the reper­ tions of Rossini and Auber overtures istic polka from 1857. toire of original music conceived and and other well-known orchestral written for the modern concert band favorites. · Gilmore's greatest work as a conductor has grown enormously, and has become was done after 1873, when he organized one of the most interesting develop­ The growth of the band after 1800 was a band of 66 players with whom he ments in American music. rapid. The Marine Band was officially toured the United States and Canada. organized in 1798, with a complement He also took this band on a tour of There is today hardly an American of eight musicians. {It was not until Europe in 1878, where it was hailed as composer of note who has not written 1861 that its strength was authorized the equal of any of the most famous for band, and it is on this new reper­ as thirty players.) continental bands. toire·that students in our school and college bands are being trained. At the. The anthem "America:· with words American heritage. It is presented here specific request of JCPenney, the from 'The New England Hymn" by The for band, orchestra and chorus. sep­ Bicentennial Musical Celebration in­ Reverend Mather Byles, appeared in arately or together. The unison choral cludes a new commissioned concert Billings' first published collection, part is printed in the booklet "About band work by a prominent American 'The New England Psalm-Singer," the Celebration" so as to be available composer that recognizes the new printed in 1770. It is a simple four-part with all three. The simplicity of the status of American band music-and a anthem tor band, chorus and string work makes it easy to learn and sing. commissioned stage band work that orchestra (separately or in combina­ and provides a stirring opportunity for points the way still further into the tion) and is highly appropriate as an audience participation. future. opening number tor a concert or Richard Franko Goldman ceremony. The Dream Is America (1975) by Mitch Leigh. Lyricsby Charles (For more detailed accounts of the Burr.Arranged for chorusby Sy history of American bands and band Anthem from the symphony Mann, for orchestraand band by music. see H.W. Schwartz. Bands of "America" (1927) by Ernest Bloch Buryl Red. Commissionedby America, N.Y .. Doubleday. 1957; and (1880-1959). Arranged for band JCPenney. R.F. Goldman. The Wind Band, West­ by Richard Franko Goldman. port, Conn., Greenwood Press. Mitch Leigh is best known as the com­ reissued 1974.) Ernest Bloch stands in the front rank of poser of "Man of La Mancha;· the twentieth-century composers. Many of fourth longest running musical of all his works have become part of the time. After serving in the Army, he enduring orchestral and chamber studied music with Paul Hindemith at music repertoires. Yale University, earned his Bachelor's Selections arranged and Master's degrees, and later taught for band, chorus and Bloch was born in Geneva, Switzer­ and lectured there. land, and came to the United States in orchestra. 1916. He taught at the Mannes School Early in his career he worked as a jazz in NewYorkand then. in 1920. became musician. He had a daily radio show director of the Cleveland Institute of and made a series of records during America (1770) by William Billings Music. In 1925 he became head of the the mid-fifties. then organized Music (1746-1800);Edited by Richard conservatory in San Francisco. Among Makers. a highly successful com­ FrankoGoldman. his students were many eminent mercial production house. He has won American composers. including Roger every major award for television and William Billings is now recognized as Sessions. Quincy Porter. Bernard radio commercials. the most important early American Rogers. Douglas Moore and Randall composer and our first truly original Thompson. Mr. Leigh has also received the Tony musician. He was born in Boston, be­ Award, the Drama Critics Circle Award, came a tanner by trade, and was an The "epic rhapsody" America was the Variety Poll. and the Yale School of entirely self-taught musician. He soon begun in 1925 and published in 1927. Music Certificate of Merit. In 1973 the gave up his trade and became America's It bears the following dedication: Songwriters Hall of Fame awarded first composer by profession-he 'This symphony has been written in "The Impossible Dream" from "Man of taught singing, organized choirs, and love for this country/ In reverence for La Mancha" the Contemporary Classic published six books of part-music for its Past-In Faith in its Future ... :· Award. voices. As a note in the score, the composer wrote: "The Ideals of America are Billings' work might be considered imperishable. They embody the future primitive, but he revived popular in­ credo of all mankind ...." terest in church music almost single­ handedly by introducing the "fuguing The composer hoped the anthem would tune," which offered new color and be widely used and become part of the expression in songs easily performed by church congregations. A genuinely gifted writer of melodies, he had a fresh and vigorous, if sometimes un­ orthodox, idea of harmony. In his time he was highly popular and a major influence on American choral music, but only in recent years has his work again become appreciated for its true worth. "The Dream Is America" expresses a I. Introduction: Army in Motion­ literally thousands of performers. spirit of dedication and rededication in General Orders-Acclamation of the a strong and memorable melody. It is Americans-Drum beat to Arms G ii more not only established a standard a moving program finale designed for II. Washington's March of band performance but also did much optlonal audience participation. 111.Crossing the De Iaware-Ardor of to enlarge the concert band repertoire. (35mm lyric slides are provided for the Americans at Landing He made many excellent transcriptions auditorium use-they are tucked in the IV. (al Trumpets Sound the Charge; of light classics and opera excerpts, in back cover of the booklet" About the (bl The Battle: Defeat of the Hessians effect setting the pattern for later great Celebration.") -Flight of the Hessians-Begging bands like Sousa's. As a composer, he Quarter-The Fight Renewed­ confined himself to marches and other General Confusion kinds of light, popular music. None V.The Hessians Surrender Themselves of his original band works is available Prisoners of War-Articles of Capitula­ today. tion Signed VI. Grief of the Americans for the Loss The "Norwich Cadets" is dedicated to Selectionsfor band. ofTheir Comrades Killed in the the student body of Norwich University Engagement in New England. It is a polka rather VII. Yankee Doodle-Quickstep for the than a march and is typical of mid-19th The Federal March (1788) by Band century popular music. The piece has AlexanderReinagle (1756-1809). VIII. Trumpets of Victory-General never before been available for Arrangedby Roger Smith. Rejoicing band performance.

Alexander Reinagle was born in Eng­ This new arrangement of 'The Battle of Major General U.S. Grant's land of Austrian parents. He seems to Trenton" represents the first time that Grand March (1863) have known Karl Philip Emanuel Bach, a complete version of the delightful, by JosephGung'I (1810-1889). and to have moved in the best music historic piece has been available; it is Arrangedby Roger Smith. circles of his time as a well-schooled, the first and only published band highly professional performer and arrangement. Joseph Gung'I was a celebrated Hun­ composer He came to America in garian bandmaster and composer of 1786, established himself in Phila­ New YorkLight Guards Quickstep many hundreds of highly popular delphia. and became active as a con­ (1839) by FrancisH. Brown(1818- dances and marches. He toured ductor and pianist. He composed 1891).Arranged by Roger Smith. America several times and enjoyed prolifically in small and large forms, great success in this country. including much patriotic music. and Little is known of Francis H. Brown through his concerts he exercised except that he wrote much light music "Major General U.S. Grant's Grand great influence on the musical that was extremely popular in his day. March" was written in honor of General development of America. The early 19th century quickstep was often used for dancing as well as march­ Grant and is a good example of the com­ poser's style. The piece is not actually The" Federal March" is the first piece of ing. In style, it is somewhere between a grand march, but rather a typical 6/8 music composed specifically for the a march and a gallop. The one pre­ American nation. It was written to sented in this program is thoroughly march in the regular form that became celebrate the ratification of the Consti­ characteristic and also one of the most established around the middle of the · tution by ten of the new states and first charming pieces of its kind. 19th century. It is pure fun for bands played July 4, 1788, in Philadelphia. to play. The "NewYork Light Guards Quickstep" The Battle of Trenton(1792) by was published in 1839 "as performed PresidentGarfield's James Hewitt (1770-1827). by Dodsworth's Brass Band"-one of InauguralMarch(1881) Arrangedby Jonathan Elkus. the most famous of its time. It was, in by John PhilipSousa (1854-1932). fact, the leading band in and around Arranged by Dorothy Klotzman. James Hewitt emigrated from England New York until the Civil War. to the United States in 1792 and im­ John Philip Sousa is the most famous mediately took an active part in the This is an actual drill piece for the bandmaster of all time and the com­ musical life of New York City, organiz­ Guards unit and an American band poser of more than 140 marches, many ing many concerts and directing classic. of which are still in the repertoires of military bands. He was a violinist of bands throughout the world. The very note and one of our most prolific com­ NorwichCadets (1857) by famous ones, such as "The Stars and posers. About 1812 he moved to Boston PatrickS. Gilmore (1829-1892). Stripes Forever," can be heard almost and continued his musical activities. Arrangedby Jonathan Elkus. daily and are an essential part of the American musical heritage. Among his well-known compositions is Patrick Sarsfield G ii more was the first the ballad-opera "Tammany," produced great American bandmaster. He estab­ Most bands in the United States have in New York in 1794. The most famous lished the basic instrumentation of the an assortment of familiar Sousa of his surviving works is the military concert or symphonic band, as marches, and nearly all of them are sonata "The Battle of Trenton," written opposed to the brass band. In 1848 he readily obtained. The Celebration is in 1792 and dedicated to George came to the United States from his indeed proud to present a work of the Washington. While it was published in native Ireland and settled in Massachu­ great bandmaster never before avail­ 1797 for the pianoforte, it is probably setts where he became a leader of able! President Garfield's Inaugural safe to assume that Hewitt performed several bands before organizing his March had been published only for it with one of his military bands. The own in 1859. piano; however, the title page indicates work is not actually a sonata, but that it was indeed performed by the rather a highly descriptive battle piece, The Gilmore Band quickly achieved Marine Band, under Sousa's direction, similar to many written in the late great popularity, but the composer is on the occasion for which it was written. eighteenth and early nineteenth also remembered as an organizer of century. mammoth festivals, including the The presen' l:>andversion was recon­ National Peace Jubilee of 1869 and structed fro the very rare piano The following sections of the work the World Peace Jubilee of 1872. Both edition. Alth iugh the march is one of are given by the composer: were held in Boston and involved Sousa's earliest works, it is representa- tive and reveals the style of the com­ known or played today. The Celebration erences with professional as well as poser's later concert suites. It is a takes special pleasure in presenting Service bands and those in schools pompous processional"grand march, this new edition of "The Gold Bug,'' and colleges. They include such well­ and one can easily imagine its effect one of Herbert's most characteristic known compositions as "Reflections,'' as the great inaugural parade. long marches and one that was immensely "Fiesta del Pacifico," "Nocturne,'' and before the day of the automobile, made popular during his lifetime. several "Fanfare Marches." its way down Pennsylvania Avenue. Music for a Civic Celebration "Music for a Civic Celebration" is a The Gold Bug (1896) (1975) by Roger Nixon. positive statement for an historic by Victor Herbert (1859-1924). Commissionedby JCPenney. occasion. It is a striking contemporary Arranged by William Radtord­ work in two connected movements, Bennett. The Celebration is proud to present a six minutes in length. The first is a new work by the noted American com­ choral prelude with a joyful spirit in Victor Herbert is remembered for his poser Roger Nixon. which, in the composer's words, he many charming and successful "intended to recognize our heritage of operettas. such as "The Red Mill" and Mr. Nixon is a native Californian religious freedom and the joyful nature 'The Fortune Teller." However. not and teaches at San Francisco State of a bicentennial celebration." The everyone remembers that he was a University. He received his early second movement, following without musician of extraordinary versatility. musical training in that state and soon pause. is a fast and festive dance. He was a virtuoso cellist, an outstand­ became established as one of the most ing conductor of the Pittsburgh Sym­ significantyoungcomposers in the West The work is dedicated to Richard phony, and a composer of both serious Franko Goldman. and light music. Mr. Nixon has continued to win increas­ ing recognition and honors, including Herbert was also a bandmaster. He the Ostwald Award of the American The Soul of '76 (1975) succeeded Gilmore as conductor of Bandmasters Association. He has by David N. Baker. the Gilmore Band in 1892 and retained shown great interest in serious com­ For stage band and jazz-blues­ this position for seven years. position for the concert band, and his rock ensembles. works have enjoyed great success Commissionedby JCPenney. The composer's operettas were among musicians, players and audi­ extremely successful and are often ences throughout the country. Many David N. Baker is a well-known jazz revived. His marches are too little are now permanent repertoire pref- instrumentalist, author, arranger and educator. He is currently an Associate Professor of Music at Indiana Univer­ sity, where he has helped to establish one of the most extensive jazz studies programs in the United States.

Mr. Baker's musical reputation was first established as a brilliant jazz trom­ bonist with such notables as Stan Kenton and Maynard Ferguson-but he is equally at home with the cello, string bass, tuba and piano. His com­ positions can be heard on many recordings, and he has written several books on jazz.

In the non-jazz world, Mr. Baker has participated in both symphony and opera organizations. He performed as a soloist with the Boston Symphony Orchestra and has been acclaimed as conductor of the Indianapolis Sym­ phony and Civic Orchestras.

"The Soul of 76" is an exciting twelve­ minute evocation of the Bicentennial mood in the successive idioms of American jazz, in three sections:

I. A moody impressionistic ballad which becomes a blues in boogaloo style. 11.An Afro-Latin section which con­ trasts a jagged first theme with a long­ lined lyrical second theme, then a CO'MPOSl!J) :BY return to the first theme followed by a il-0 $.$'t $1r#$.'~ '"""""'"·m•. trombone solo. Ill. A lazy blues line with an extended piano solo which leads to fiery shout chorus followed by the blues theme.

The piece concludes with a quiet return to the opening material. composed the pieces and then col­ ChoralMusic: An Introduction. lected them in tune books which were published and exchanged throughout the colonies. It was in this manner that William The Bicentennial Musical Celebration's One of the first books printed in Billings' "fuguing tunes;· with elements choral program is based on the oral America was the Bay Psalm Book of imitation among voices, were traditions of transmitted folklore. It (Gambridge, 1640). In using early introduced. While Billings revolution­ captures the essence of the people editions which contained no music, ized colonial church music, he was who created the folklore and the music worshipers sang the tunes from not the first American composer. -and the events, great and small, that memory. Eventually, as one might That distinction belongs to Francis shaped their existence. expect, memories grew more remote Hopkinson, one of the signers of the and fewer and fewer were used. Declaration of Independence, intimate These people, from all corners of the friend of George Washington, and a world, had this tradition in common. Music was finally added to the Bay man whose life and talent were dedi­ They applied it to their new land and Psalm Book in 1690. This edition con­ cated to the establishment of our nation. condition, embedding the treasury of tained some twelve tunes, but the their past in the mosaic of the new printing was very poor, and there were From the standpoint of originality, American race they were forming. so many errors that even the old prac­ however, Billings was unquestionably tice of "lining out" (singing aloud) by a the first important American composer. However, most American education has precentor or elder could not save them. By the pure force of his ideas, he dom-, been influenced by a definite English inated the tune writers of his day, many skew. The average school child almost The early exchange of whom were better trained than he. automatically identifies the landing of the Pilgrims as the most important The response to this decline of church In 1710, he produced the New England original event in the founding of our music occurred in 1710 when a new Psalm-Singer and announced his mu­ nation. He remotely accepts visits to institution developed in the New sical declaration of independence the American continent by various England colonies-the "Singing from the chafing restrictions of sim­ Italian, Dutch, Spanish and French Schools:· Their original purpose was plicity in psalm tunes and hymns. This explorers, but none of these seems to to teach the reading of music and im­ collection cl!>ntained some of his fugu­ have left for him the cultural and po- prove the congregational singing. The ing tunes which he modestly described l itical impact of the English. This bias local "singing masters," faced with a as "more than twenty times as powerful has tended to obscure the contribu­ need for part music in large quantities, as the old slow tunes:· tions of non-English speaking immi­ grants to our musical history.

We have also lost any residual contri­ bution of the indigenous American. The evidence of highly sophisticated Indian societies is abundantly available in visual art from pre-Columbian periods, but unfortunately language barriers and the original disinterest in Indian creativity foreclosed serious interest in his music.

For practical purposes, then, we must deal primarily with the English-Scotch­ ! rish traditions that have persisted.

The early religioussetting

The Puritans and Separatist Pilgrims saw no need to develop the delicate art of music for its own sake. It was an aid to worship-only after much con­ troversy and discussion. When the Pilgrims crossed from Holland in 1620, they brought with them a Psalter (pre­ pared about 1612) for the congrega­ tions that had fled from England to Holland. The larger colony of Puritans, established in the Massachusetts Bay area in 1630, used even older works such as the Hopkins Psalter.

Despite such limitations, the Plymouth Pilgrims managed to celebrate their departure from Leyden with a love feast marked by a lengthy singing of 'psalms. This metrical psalmody, which dated from the sixteenth century, became New England's only church music for over one hundred years. From 1790 onward, after Billings' career damnation concept. And at its peak in reached its oeak, the contest between the early nineteenth century, there Selectionsfor those who caught the spirit of the fugu­ were camp-meeting revivals which con­ Choral Groups ing pieces versus those who considered tinued non-stop for more than two years. them trivial and undignified grew less equal. The tide of immigrant musicians The folklore Colonial-Revolutionary from Europe, well stocked with the treasures of Bach, Handel and Haydn, The common people who took religion Happy in the Lord, basedon JesusMy exposed the primitive character of into their own hands, in search of free­ All to Heaven Is Gone, by John Cennick Billings' music. dom, were also the custodians of an ( 1718-1755). Arranged by Alice Parker. oral tradition of fol kl ore born among With the beginning of the nineteenth the humble folk of Scotland, Ireland century, the pendulum of both popular and the English countryside. Such John Cennick never set foot in the New and clerical opinion swung decish.fely folklore mirrored their daily existence World, but his salvation hymn. "Jesus toward the staid and stately product in subtle, highly imaginative ways. It My All to Heaven Is Gone" probably which became known as "New England often relieved the tedium and oppres­ introduced such folk-like hymns into church music." From this grew the siveness of their lives, painting lofty England's period of religious dissent, "Boston School" of composers. stem­ pictures of their aspirations, and evok­ "The Great Awakening." It came with ming from the organizational and ing moments of grace and beauty religious dissenters to the colonies, musical skills of Lowell Mason. Among which could only find expression by gained quick popularity and has re­ the sturdiest hymns sung by today's poetic means. mained in constant use in one form or congregations are the products of the another to this very day. contribution made by these early Faced with wholly new experiences in composers. a virgin land. these people turned The best of Cennick's verses and parts their creative resources to chronicling of his tune are found in countless black These activities had the greatest impact the history of successive generations. spirituals and Sacred Harp collections in settlements and towns where the They have left us perhaps the truest dating from 1820. "Happy in the Lord;' populations became less significant account of America's transformation a revivalist hymn, comes from the numerically with the growing waves of from European-modeled coastal Original Sacred Harp collection pub­ immigration. New arrivals often paused settlements to a nation with a fresh, lished in the early 19th century. Country only briefly before pushing on to vibrant character of its own. hymn singing at that time was choral become part of the increasing rush to music in its most vigorous style, to be the frontiers, preceded by those seek­ Other influences sung with firm rhythm, strong tone and ing the freedom of newly opened farm real conviction. No accompaniment tracts and an escape from the rigid Inevitably, the lives of those people should be used. A.P. society imposed upon them. co-mingled with others who were cast into the forming of America by out­ Billy Broke Locks.Arranged by Divisionand dissention side forces, and whose influence and EmmaLou Diemer. contributions were instinctively recog­ The predominent characteristic of the nized. Among them were Africans who Militia men from Massachusetts Revolutionary century was anti­ arrived, at Jamestown, a year before brought this song into Continental institutionalism, and much of the search the Pilgrims; Germans who ranks undoubtedly because it derided for freedom was born of religious maintained their traditions intact; the British. Actually the song recounts dissent. The colonial religious institu­ Quakers; Shakers; Adventists; and all an incident of the H30's when the tions were the most unyielding, and forms of Millenielists. monetary exchange in the English col­ therefore the most prolific breeders of onies was still based on gold Spanish this dissent-which had begun in The list is long and it is difficult, if not coinage. Prices fluctuated wildly, and Europe with Martin Luther and impossible, to accord each group its in an attempt to reduce the confusion. extended through John Calvin to John place on a scale of importance. Never­ Parliament decreed the issue.of paper Wesley and his field preachers. theless. the idea of the "American money called "tenors." melting pot" grew out of this unbeliev­ The purveyors of what became 'The able melange which we now also recog­ When successive issues brought "new Great Awakening" had been busy in nize as a kind of durable contributing tenors" to replace "old tenors," the England. Jonathan Edwards, Theodore pluralism. confusion was compounded. John Frelinghuysen, and George Whitefield, Webb, mint-master of Salem, refused highly successful at home, soon came The songs selected for the Celebration to issue" new tenor" and was clapped to the colonies to preach a new funda­ portray these people in the sim1:>le, into jail. His friends promptly broke mentalist faith. They sparked new unheroic proportions in which they into jail, rescuing Webb, and celebrated fires of religious treei:dom which viewed themselves. The pamphleteers, the event by reshaping a sixteenth seemed to ignite by spontaneous com­ the poet propagandists, the intellec­ century Scots ballad, "Archie O'Caw­ bustion along the entire row of colonies. tual diarists and editors-all have field:' to chronicle his escape. And the movement raged well into the recorded the heroic history of our nineteenth century as successive country. The schooled compo1,ers, Phillips Barry (Yale University Press) waves of evangelists pushed westward in their own times, have extended their found five versions of this song in New to the frontiers. often meager means to record that England some two hundred years after history in music. But the simple folk, the events it recorded-a fitting testi­ These evangelists assaulted institu-, who were frequently oblivious to such monial to its deserved popularity. tional religion at every turn, obliterating history, are recognized here for their denominational lines and preaching contributions in this two hundred-year Early Nineteenth Century wherever they cou Id get an audience, progression. even wherftheir own denomination or Leonard dePaur The Babe of Bethlehem (ca. 1820). laws forbade such activity. Their Arrangedby Walter Ehret. extravagantlyemoti~nal revivals, which shocked the staid intellectual institu­ The survival of pure modal tunes two tions, carried the vision of a new salva­ centurie.s after their arrival in the new tion. They spread the ritual of the world indicates the astounding accu­ "believers' baptism;· a hell-fire and racy of oral transmission. This carol. found by the eminent Virginia musician. Songs of parting form a major part of This piece combines "Hard Times. John Powell, can perhaps be heard Southern song lore. Loneliness and Come Again No More:· "The Glendy today in the remote recesses of the· anxiety were pains to be expected and Burk;' "Oh! Susanna," "Ring, Ring The Appalachian hills. a treasured childhood borne with grace by the lovers who Banjo," "Farewell, My Lilly Dear," and memory of some aging song-spinner. had sworn to be faithful. "My Old Kentucky Home.'

Christmas had a special quality among Aunt Sal's Song. Arrangedby the early "dissenters" who. rebelling Emma Lou Diemer. against the established churches, Get Off The Track.As sungby the founded the Primitive and Fundamen­ For many years women were in short HutchinsonFamily. Adapted by talist groups common to the southern supply along the frontier, and a young LeonarddePaur. mountain areas. The gentleness of their man with no particular prospects had Christmas songs and customs con­ little hope of catching one of the few trasted sharply with the emotional available pretty girls. Sprightly young vigor of their gospel hymns. misses. ready to marry in their early The great revivals of the early nine­ teens, mercilessly teased and tor­ teenth century introduced a tradition Carols were not a part of their usual mented their awkward young men who which flourishes in certain sections of fare. Rather, they were treasures came "a-courtin:· Aunt Sal remembered our country to this day: the singing brought out each Christmas time like this experience from her youth. tamif ies, small ensembles ( usually heirloom silver or crystal, and shared quartets) each of which featured a within the family gathered around the sound, a style, and hopefully a reper­ hearth and fireside. toire uniquely its own. Their songbags Middle Nineteenth Century contained old and new gospel hymns, and depending upon their enterprise, The Sow TookThe Measles. whatever else helped the popular Arrangedby Walter Ehret. causes espoused by the churches they Stephen Foster Medley.Arranged by served. The sons of the early Puritans moved Harry DuVall. out into rural New England and soon produced a decidedly new breed of Few songwriters have dominated the The churches were their natural ele­ man. Basic sobriety and thrift were musical life of their times so completely ment, and the best of the "families" still the pillars of life-but a new prag­ as Stephen Foster did. His ballads could spell the difference between matism replaced their fathers' agoniz­ were precious miniatures without success or failure for a revival meeting ing over moral and religious application which no evening arour.d the piano was and determine the effectiveness of to every aspect of life. conceivable. It did not matter whether the revivalistpreacher. The very best the piano graced a saloon, a comfort­ of the families, like the Hutchinsons of Thus evolved the Yankee. close rela­ ably appointed home or the local theater. New Hampshire. became national tive to the shrewd Yorkshireman. This celebrities in their own right. clever rustic, farmer-trader-inventor­ Stephen Collins Foster's importance statesman, was America's first true as a truly national figure seemed curi­ Unlike others, the Hutchinson family folk hero. A dead sow might be viewed ously pre-ordained: he was born in was indeed blood-related. Yankee in as a disastrous loss to the average Pittsburgh on our nation's 50th birth­ politics and Fundamentalist in religion. farmer. but to a Yankee farmer she day, July 4, 1826. they foui;id a natural home in the ranks merely offered a challenge which he of the Abolitionists. The combination met by converting her into a series of While Foster did not create the minstrel of the Hutchinsons plus Frederick things, probably of greater worth than show, his rollicking "darkysongs" and Douglass, William Lloyd Garrison; the sow herself. tear-eyed nostalgia about a South into Henry Beecher or Mrs. Harriet Beecher which he never ventured certainly Stowe was an absolute guarantee of a It should not be surprising that this man helped make them the institution they successful Abolitionist rally (and fund who could convert the sow's ear into a became. His songs-simple, lovable raising} throughout the Union. silk purse also transformed the older expressions of tenderness, merriment, English tune "My Jolly Herring"into a joy, sympathy and constant yearning Most of their songs were composed near perfect image of himself in 'The for home-were exactly right for the within the family, and publishers vied Sow Took the Measles:· mood and temper of the times. Many of for the profitable privilege of offering his tunes were so typically "folk" it was them. The Hutchinsons flourished long difficult to believe they had been after Appomattox, endlessly traversing Winter'sNight. written by anybody. the well-worn gospel trails-with an Arrangedby Walter Ehret. occasional bypass into more mundane In 1848, at the age of twenty-two, paths like the mayoral campaign of The harsh frontier and mountain wilder­ Foster published "Oh! Susanna" which New York's Fernando Wood, for whom ness seem unlikely settings for the became an instant, nation-wide suc­ they wrote and performed. tender emotion. but no songs are as cess. Pirated editions of the song touching as the love lyrics found appeared. Politicians adapted it to their throughout the Appalachians of Vir­ campaign needs. The49-ers, pouring­ Sally Ann. ginia and Kentucky. Some. like westward to California goldfields, Arrangedby UlyssesKay. "Winter's Night;'traveled on through claimed the song as their own national the Carolinas and as far as Oklahoma anthem. Its fame even spread abroad. When frontier folks gathered for fun and Texas. the indispensable element was the Foster immediately abandoned his fiddler-one blessed with a headful of The restlessness provoked by the father's dream of a business career and "chunes" and the energy to saw away beckoning frontier was a constant turned to the many publishing con­ as long as his dancers founp the threat to the stability of married love. tracts offered him. Sixteen years later strength to move. Bored husbands and fainthearted he died in near poverty at the age of lovers could simply"head west;' and a thirty-seven. He had composed more Fiddle tunes or "frolics" were prized woman might never know whether her than two hundred songs, the first for their ability to set feet to patting man had fallen prey to the wild animal published when he was seventeen, -universal "classics'' like "Rosin the he hunted, an Indian war party, or just and those which survive have achieved Bow," "Natchez Under the Hill: Bfack­ plain wanderlust. the universality of folklore. eyed Susan" or local favorites li'j(.0 "Sally Ann;· not only good for dancing risky life, expressed with that special Fisk, decided to attempt a short concert but well suited to improvised verses of nostalgia of those who loved the sea. tour to raise desperately needed funds. local singificance and humor. Clearly they were a breed apart. White set out with nine of his best students in late 1871. Shrewdly select­ "Sally Ann" was popular throughout WondrousLove. ing communities which had been the southern uplands and traveled on Arrangedby Alice Parker. actively abolitionist or major stations to the far reaches of Texas and Okla­ for the Underground Railroad. he homa territory. "Wondrous Love" is one of the loveliest found receptive and generous audi­ and most widely known of the shape­ ences. The news of the Jubilee Singers. Fiddle tunes seldom offered the me­ note hymns. Found in collections from as they were now known, began to lodic grace and poetry of ballads, but the Shenandoah Valley to the Sacred appear in the press. Leading musicians matched with a few lines of doggerel Harp territory of Alabama, its haunting and critics expressed themselves as and the tireless bow of an inspired melody and words have delighted "captivated by the charm of the singers" fiddler they sparked the rough-hewn singers for 150 years. It first appeared and their sincerity and devotion. fun and exuberance needed to balance in print in the Southern Harmony of the harshness of frontier life. 1835; this version is from The Social Within three years the Jubilee Singers Harp, published in Philadelphia in 1868. had raised $150,000. They had been Oh Freedom! featured at Pat Gilmore's 1872 Jubilee Arrangedby WendellWhalum. This setting for three-part chorus is in in Boston. They were lavishly received keeping with the tradition of much by Queen Victoria and the German Both Frederick Douglass and Harriet early hymn-singing. It might well be Emperor. Fisk University had been Tubman recalled the relative ease with sung by womens' voices alone, or saved and a tradition begun. Student which messages could be passed be­ mens'voices; four-part choruses should singers from Hampton Institute in tween slaves as long as they were not overlook it just because there isn't Virginia and Tuskeegee in Alabama cloaked in what sounded to the over­ a separate tenor part. (Tradition allows would follow the Fisk trail, enriching seers like religion. Sing about 'The doubling the parts in octaves. Thus, their schools and enhancing the ever­ Lord Jesus" or "heaven in the sweet the basic three parts may expand to growing popularity of black folksong. bye and bye" and whatever else fol­ four, five or six in performance.) AP. lowed would raise no suspicion. Escape The tradition comes alive for us today plans were thus signaled. warnings through such a song as" Lay Yo' Head in passed, and the constant thread of Tentingon the Old CampGround by De Winduh, Jesus:· protest restated daily. Walter Kittredge. Arrangedby Ralph Hunter. Drill Ye Tarriers,Drill! "Oh Freedom!" was known and sung by by Connelly-Casey. slaves from Virginia to the western A war which cast neighbors, cousins, Arrangedby Ralph Hunter. frontier. When finally permitted to bear even sons and fathers in deadly oppo­ arms in the war which freed them, sition could not deny them all their The rush to lay a road of iron across the black soldiers carried it from the Red points in common. The ease of com­ continent had begun in mid-19th River cattle raids to the frustrations of munication between the warring century. the Crater at Petersburg, Va. This spir­ populations, civilian and military, made itual, better than any other, expressed for rapid exchange of songs which After the Civil War, the quest resumed the black man's conviction of eventual struck the notes of nostalgia and yearn­ with renewed vigor, fueled now by the liberation. ing so poignantly the lot of both. flood of available labor. In the south thousands upon thousands of former Walter Kittredge, a modestly success­ slaves blasted tunnels, drove spikes, Blow,Ye Windsin the Morning. ful composer of popular songs, penned laid cross-ties and track while creating Adaptedby JoannaColcord. 'Tenting" shortly after being drafted in the legend of John Henry. Into northern Arrangedby UlyssesKay. 1862. It shared credit with George Atlantic ports poured the Irish, follow­ Root's "Just Before the Battle. Mother" ing refugees from the 1840's famine Five minutes aboard a whaling ship for an avalanche of pacifist songs so from which Ireland still suffered. labor should have wrung the last drop of mournful that Union Army generals recruiters, first at American dockside romance from the most starry-eyed belatedly forbade their troops to sing and then fanning out across Ireland adventurer. Not only were the voyages them-it was felt they lowered the itself, beguiled farmhands with tales of of unpredictable length-commonly soldier's morale. quick wealth and unlimited land to up to two years duration -but the be claimed. seaman's wage and profit were wholly dependent on the luck of the hunt Post-BellumNineteenth Century It was mainly the Irish who built the Long months of fruitless search for the railroads of America from the eastern whale would return ship and crew to states clear to the Rockies. They came port as penniless as they had been at Lay Yo' Head in De Winduh,Jesus with wonderful wit and their singing departure. A successful hunt and the by Jester Hairston. tradition. It was a pair of Irish vaude­ bounty of many whales guaranteed villians, Casey and Connelly, who wrote profit, but also the perpetual stench of It was a smal I chorus of recently freed "Drill Ye Tarriers, Drill!" It had such an decaying blubber and smoking oil black students that gave America. and authentic quality the tarriers them­ wafting from the rendering pots. later Europe, its first clue to the musical selves promptly adopted it as their own treasure buried intheslaveexperience. favored work song, adding verses. That the romantic tales of whaling do subtracting them, reordering it to their exist bears impressive testimony to Reconstruction gave the Freedman's design and needs-the processes of man's insistence on gleefully seizing Bureau an inadequately funded man­ oral transmission forming in the end danger-fraught challenges. Able sea­ date to organize schools for the mil­ a folksong. men who could have berthed aboard lions of ex-slaves newly released onto the best ships afloat chose instead the the shattered south. One was Fisk uncertain future aboard the small. University, founded in 1866 in Nash­ Slumber Song greasy tubs which pursued the sperm ville, Tennessee. Its early years saw by EdwardA. MacDowell, and bluenose. bitter struggle for survival; it was hard to raise money for a project not alto­ It has been said that American "Blow, Ye Winds" is undoubtedly the gether popular at the time. Finally music owes much to the parents of most qomplete narrative of the whaler's George L. White, teacher of singing at Edward MacDowell-a reference to their early recognition of his talent and I'll TakeSugar in My Coffee-0 Turn of the Century lifelong support of his career. The by Jester Hairston. father may well have recalled his own Arrangedby NathanScott. frustrated desire to become a painter. POOR LITTLEBESSIE. A very persuasive argument insists Arrangedby Alice Parker. The mother's Irish ancestry richly that the black American's secular music endowed her with Celtic love of more accurately represents his African poetry and song. "Poor Little Bessie;' or "Bessie's heritage than does the spiritual. Lament," or "The Drunkard's Lone At fifteen young Edward, with seven To examine, for instance, the "ballads" Child" is a charming example of the years of piano instruction accom­ and tales involving animals, such as kind of song that was sung in Victorian plished, was off to Paris. After a year of "De Grey Goose," "De Boll Weevil," parlors as part of the temperance cam­ private study he won the competition and the mule, "Jerry" is to recognize paign to outlaw the sale of alcoholic for a scholarship at the Conservatoire. line descent from the Anansee tales of beverages in the United States. The Among his fellow students was one the Ashanti tribes and their Yoruba text is quoted in many cotlections of noted for unyieldingly strange ideas, equivalents. They served for centuries the 1890's. This version of the tune is a lad named Debussy. as teaching fables for West African adapted from two sources in the children-a fact oot acknowledged by Americana Collection of the New York After two years in Paris he went to Joel Chandler Harris when he ex­ City Public Library. Germany, briefly to the Stuttgart Con­ tracted his Talesof Br'er Rabbit from servatory, then to Frankfurt where he them. The song should be performed with began his first study of composition. respectful simplicity. There is quite As Blacks fled farms and plantations. enough sentimentality in the tune and Two years later he was advised to visit seeking the fantasized wonders of the the words, without adding excesses of Franz Liszt in Weimar. After hearing his city, they took with them the field interpretive emotion! Guitar accom­ work, Liszt recommended a perform­ "hollers:· rural work chants, dance paniment would be very suitable, or ance of his First Modern Suite before tunes and courting songs. The field even a small ensemble of, perhaps, the prestigious General Society of hollars quickly assumed the function flute, cello and piano. In the days German Musicians and its publication of street cries or, serving a more per­ before television, this kind of home by Breitkopf & Hartel. With such sonal emotion, were extended to form music making was one of the chief success MacDowell began to devote "blues." forms of entertainment. A.P. all of his time to composing. Urban sophistication of a sort had an Notesfrom Tom Paine (1975) Firmly established among his European effect on everything the new inhabitant by NormanDelio Joio. peers, MacDowell returned to America. expressed. Sequestered in his ghetto, Commissionedby JCPenney. He spent many highly productive­ he was free to shape and develop his and successful-years in Boston, expression as instinct and ambience The works of composer Norman Delio teaching, composing and performing. dictated. However, this isolation ended Joio are as well known throughout the More importantly, he challenged the when the rest of America discovered rest of the world as here in the United attitude of writers and critics who the joys of jazz and altered, forever, the States. His music is created with strik­ patronizingly viewed any American art course of music in this country. ing lyric invention and has been as inherently inferior to European. If described as having outstanding this opinion had been fact for a century ~lack spiritual music took strong qualities of "simplicity, tenderness and strength:' or more, the rise of MacDowell marked impetus from the expanded slave the end of its accuracy when applied population and the "Great Revival" to music. period of the early 1800's. The "estab­ Dr. Delio Joio is also a distinguished lishment" churches along the east teacher, having taught at such schools He has been richly described as "the coast featured slave balconies or pro­ as Sarah Lawrence and Mannes first American to speak consistently a vided special churches served by slave College. In the 1960's and early 70's he musical speech that was definitely his evangelists. and a "Slave Catechism" was chairman of the Contemporary Music Project, sponsored by the Ford own:· In truth he struck a declaration of was culled from the scriptures for their use. Foundation. He was elected Dean of independence for the American com­ poser. Fine Arts at Boston University in 1972. Away from the city, things were much less formal-camp meetings were the Dr. Dello Joio has received many MacPowell has left a remarkable body preferred assembly, usually out-of­ awards and honors. Several of his of vocal music for which in some cases doors. Often several preachers would pieces are now considered classic he also wrote text or verse. His songs be lashing Satan simultaneously, from expressions of America's pioneer were prized in his day only a little less stands erected at the four corners of spirit. In his broad range are short than his piano pieces. He served as the camp ground. Enthusiasm and vol­ piano works. sonatas. songs, chamber conductor of the Mendelssohn Glee ume of participation were the prized music for various string and woodwind Club and wrote for all choral combina­ contributions. and the slaves offered combinations, incidental music for tions producing works described as such expression in superlative mea­ theater and television, band music. "priceless miniatures wrought with sure. It was in this crucible that most dance scores, and operas. They love and care. "Slumber Song" might of the spirituals are believed to have include solo concertos for such unusual well be thus described for in this cameo been formed. instruments as the harp and harmon­ we have the MacDowell who was at ica; several symphonies; and a wealth heart a confirmed Romanticist, a ''I'll Take Sugar in My Coffee-0" of choral compositions. His melodic believer in poetical suggestion, and a represents a type of dance tune which writing is colored by Georgian chants composer of great refinement and immediately preceded jazz. In such -and jazz rhythms. concentration. He was unquestionably eastern cities as Atlanta, Charleston or America's first world-class composer. Richmond, the tunes were called reels. Dr. Delio Joio studied at the Institute of The texts were usually desig)1ed to Musical Art in New York, The Julliard reflect the singer's personal back­ School, and completed his Master's ground and the local slang and humor. degree at Yale University, studying In this case, the young lady recalls her under Paul Hindemith. He twice rural past, but reminds everybody of received a Guggenheim Fellowship. her new status as a recent visitor to the big city, Baltimo: In this vibrant composition, "Notes from Tom Paine:· Dr. Delio Joio has found his inspiration in a passage by The.orchestrain America:a brief background the great Revoluntionary phamphle­ teer. 'Time has found us,"wrote Tom Paine. Time has found America once more at this Bicentennial moment. says Dr. Delio Joio, in a work that is a In the Bicentennial year of 1976, Orchestras accompanied early per­ stirring call to reaffirm the principles America can boast of having some of formances of oratorios and opera, and that moved us at the founding of our the world's finest professional orches­ a few permanent organizations, such country. tras, and there is hardly a city of as the Handel and Haydn Society of consequence that does not have an Boston, were formed early in the orchestra of some competence. At the nineteenth century. The Moravians. same time, orchestras in our schools, too, in Bethlehem, Pennsylvania, and colleges and conservatories have Winston-Salem, North Carolina, en­ grown not only in numbers. but in the couraged orchestral music, although it excellence of their standards of per­ is only in recent years that the excel­ formance. lence of their music has come to be widely known. It is hard to estimate the number of orchestras in the United States today, Professional orchestras of quality were but that there is flourishing activity in organized in many cities in the latter this field cannotbe open to doubt. And part of the 19th century: The St Louis the fact that orchestral music in our Symphony in 1880 and the Boston high schools, colleges, universities Symphony in the same year; the and conservatories involves more and Chicago Symphony in 1891, and the more students each year, gives the Cincinnati Symphony in 1895. But one greatest hope for the future musical of the greatest influences on orches­ culture of the country. tral music in America was Theodore Thomas, born in Germany in 1835. He ProfessionalOrchestras came to the United States in 1845 and pursued a highly successful career as a Although the first of our great profes­ violinist and asa conductor. sional orchestras, The New York Phil­ harmonic, was not founded until 1842, In 1864, Thomas organized an orches­ the orchestra has had a continuous tra, based in NewYork, and in 1869 history in America since the mid-18th made his first concert tour, playing in century. As early as 1731, concerts of most major cities, and arousing the instrumental music were advertised in greatest interest and enthusiasm. His Boston, and performances involving orchestra, originally of forty players, orchestras, usually small, were held in was soon expanded to sixty, and the all cities of any size or importance. Theodore Thomas orchestra must be credited with arousing the first real Many of his compositions reflect the composersofhistime . He studied piano public interest in this type of music. influence of the native music of the with Leschetizky in Vienna and en­ His programs were universal in nature . Islands and Spanish and Creole heri­ joyed a distinguished career as a including works of the masters heard tage of the places he visited . Among soloist. for the first time in many American other enthusiastically received works cities , but also including works by con­ were some developed from his New While he is virtually unknown to the temporary compose rs and the leading Orleans material. such as " La Banania ," younger musical generations , John American composers of the time . " La Bamboula " and "The Union ," a para­ Tasker Howard wrote the following phrase on American national airs. about him in Our American Music On the lighter side, one must ment ion (1932): the "show-business " orchestras of the The popular "Souvenir de Porto Rico:· "Powell is one of the outstanding 19th century , such as that of the cele­ originally written for piano , is based composers of the present day. .. He brated Antoine Jul lien , who first came on a native Christmas song. It is a is significant for a number of reasons. to America in 1853, and put on concerts two-step march , Afro-Hispanic in First , because he is an excellently of sensational popular ity. The reper­ feeling , that evokes the spirit of the equipped musician with something toire was in general light and popular, Puerto Rican back-country farmers , definite to say, and able to say it. but Jul lien did perform some serious the "jiberos :· The dynamic pattern of Then because his music is prompted works by native Americans such as the piece seems to describe the by a primal urge that makes it salty William Henry Fry, one of our earliest laborers entering from a distance , pass­ and vital , always alive ... :· serious orchestral composers . Jullien ing close by, then fading into the dis­ was a showman first and foremost, but tance again. Throughout his life . Powell maintained despite his eccentricities he did much a dedicated interest in Amer ican to popularize orchestral concerts and Romanza (1930's} by John Kilpatrick. national music-this is reflected in all bring a variety of music to a public that Arranged by Thor Johnson. of his major composit ions. "Natchez on might otherwise not have existed at all. the Hill " is based on three Virgin ia John Kilpatrick was a full -blooded country tunes (actually reels) familiar Educational Orchestras Chero kee Indian . He was a dist in­ to the composer as a boy-the setting guished music critic in Dallas and a is imaginative and immediately appeal­ But most important for our present successful composer. Most of his works ing. The work was very popular in the purposes is the history of orchestras in are in the music library of the Okla­ 1930's and is well worth reviving , not American educational institutions . The homa City Symphony , where for a time only as a piece of genuine Americana , first university orchestra was unques­ he was staff arranger. but also because of its intrinsic musical tionably the Harvard Musical Associa­ interest , and its deft , pleasing orches­ tion , founded in 1837. Public orchestral tration . concerts were presented by the Asso­ At other points in his career Dr. Kil­ patrick taught at the Navy School of ciation , which contributed much to the Celebration! (1975} by Music in Washington , supervised music musical life of Boston. Adolphus C. Hailstork. in the public schools of Stillwater , Commissioned by JCPenney. Oklahoma , and beginning in 1956 and Beginning in 1865, the orchestra of the for many years thereafter , was chairman Adolphus Hailstork is Assistant Pro­ Peabody Conservatory of Music in of the Department of Music at South­ fessor of Music at Youngstown (Ohio) Baltimore gave regular public concerts ern Methodist University . of high quality , often featuring the State University . First commissioned by the Nashville Symphony in 1973, he works of American composers ; and in Dr. Kilpatrick 's compositions include also served as assistant conductor of 1867, the New England Conservatory an opera . "The Blessed Wilderness ;· the Akron Summer Musical Theater of Music inaugurated its public concert eight symphonies , film scores, cham­ and is musical director of the Youngs­ series . Orchestras at other conserva­ ber music, suites and many choral town Playhouse . He has received two tories and universities followed , and works. with the twentieth century came the Bachelor degrees , a Master 's degree full flowering of orchestral activity from the Manhattan School of Music with which we are familiar. While much of his music had a strong and a Ph.D. from Michigan State reg ional flavor-about the Ozarks, for University . It is with the hope of reaching the many example-he did not write Indian orchestras in our high schools , col­ music. He uses drums , for instance , His music has been gaining nation­ leges and universities that the although the Cherokees , one of two wide recognition and has recently been JCPenney Bicentennial Musical Cele­ essentially peace-loving tribes , had performed by the Baltimore Symphony bration offers a selection of representa­ neither war drums nor drums in and the Atlanta Symphony . Dr. Hailstork tive American music in various styles . their music. is co-winne r of the 1970-71 Ernest Blech award for choral composition and recipient of many citat ions and Richard Franko Goldman Among his many honors , the most honors , including a fellowship to study unique is the citation awarded him by in France with Nadia Boulanger. the Cherokee Indians for his dramatic Selectionsfor Orchestra and musical accomplishments-the The composer 's lyrical style has been second ever to have been given by the described as "romantic in aesthetics Souvenir De Porto Rico (1855) by Cherokee Nation . The first went to and contemporary in techn ique." Louis Gottschalk (1829-1869) . Adapted Sequoyah , from whom Mrs. Kilpatrick by Thor Johnson from the Philip James is directly descended , for inventing "Celebration !" reflects the many concert band arrangement. a syllabary enabling his people to read scenes associated with a festive com­ and write. munity occasion . Color, glitter , dance , Louis Gottschalk , a native of New even the scrambling of children , are Orleans , was this country 's first out­ portrayed in an intense and energetic standing piano virtuoso and one of our Natchez On The Hill (1932) by summation of a positive moment in life . first original composers . He was a John Powell (1882-1963). prodigious performer , presenting con­ certs throughout Europe , the United John Powell, from Richmond , Virginia , States, the West Indies . and South was an accomplished pianist as well as America . one of the most important American