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“He would seat himself at the piano, drooping ELIJAH IS COMING! WASHED IN THE over the keys, and the old songs, his particular way of singing them in his BLOOD of the LAMB! sweet tenor voice, and the GLORY SONGS! expression on his face— these were things one The Noted American Evangelists, can never forget.” Mr. Kevin M’Dermott, tenor —Sylvia Beach and Mr. Ralph Richey, pianist WILL PERFORM MORE MUSIC FROM THE WORKS OF JAMES JOYCE!
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Now then, our Glory Song! You call me up by sunphone any old time. PROGRAMME CREDITS Recorded by Joseph C. Chilorio of M H P, Mechanics Hall, Worcester MA, March –, . 1 In the Shade of the Palm ...... ( 6 : 08 ) From FLORODORA: “Leslie Stuart” (Tom Barrett) Design and typography by Kevin McDermott. Text set in digitizations of Centaur by Bruce Rogers ( ) and Colm Cille by Colm Ó Lochlainn (.) 2 O Twine Me a Bower ...... ( 3 : 40 ) Thomas Crofton Croker, Esq.—Hon. D. Roche Artiste’s Photographs by Todd Gieg () and Georg Schreiber (). 3 The Groves of Blarney ...... ( 4 : 40 ) ILLUSTRATIONS Richard Alfred Millikin; Air, Castle Hyde F : “The Rev. John Alexander Dowie, General 4 Killarney ...... ( 5 : 11 ) Overseer of the Christian Catholic Church in Zion,” c. . from THE COLLEEN BAWN; Edmund Falconer—Michael Balfe B : John Alexander Dowie, “First Apostle of the Lord 5 Oh! Ye Dead ...... ( 3 : 32 ) Jesus the Christ” in his robes as Elijah, . Both images of Dr. Dowie were Words by Thomas Moore; Air, Plough Whistle, arr. by C. Villiers Stanford published as supplements to L H and are courtesy of the Zion, IL, Historical Society. 6 Lilly Dale ...... ( 3 : 46 ) I : Joyce in Trieste, , taken by Ottocaro Weiss. Courtesy H.S. Thom(p)son of the Poetry Collection, SUNY Buffalo. 7 Suite of Stephen’s Piano Improvisations ...... Ralph Richey B : Joyce in Paris, , taken by photographer “Loath to Depart”; “The Agincourt Carol”; “Greensleeves” ...... ( 4 : 34 ) Gisèle Freund. 8 The Lass That Loves a Sailor ...... ( 2 : 38 ) Visit us on the Web at: www.james-joyce-music.com Charles Dibdin © 2006 Sunphone Records
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A.J. Christ Dowie and the harmonial philosophy. All join heartily in the singing!
OHN ALEXANDER DOWIE, the tutelary deity of this Suite from CHAMBER MUSIC (1952) ...... Ross Lee Finney Jrecording, was born in Edinboro’ in . A healing from chronic 9 Strings in the Earth and Air (I) ...... ( 1 : 39 ) indigestion led to his growing activity as a faith healer; he ran heal- 10 The Twilight Turns from Amethyst (II) ...... ( 1 : 52 ) ing services in a large tabernacle opposite Buff alo Bill’s Wild West Show Bright Cap and Streamers (X) ( 1 : 04 ) during the Chicago World’s Fair of . In he established the Chris- 11 ...... tian Catholic Church and, in , founded a true American theocracy: 12 O, It Was Out by Donnycarney (XXXI) ...... ( 1 : 25 ) Zion, Illinois. At the height of his power Dowie was worth several mil- 13 Love Came to Us in Time Gone By (XXX) ...... ( 1 : 42 ) lion dollars and claimed , followers. In Dowie also proclaimed ( 4 : 27 ) himself “Elijah the Restorer” and began to wear High-Priestly robes, 14 My Lady’s Bower ...... causing dissension in his church. He was deposed in amid rumors Frederick E. Weatherly—“Hope Temple” (Alice M. Davis) of sexual and financial malfeasance, suff ered a stroke, and died in . 15 What-Ho! She Bumps! ...... ( 3 : 33 ) Although a minor character in Ulysses, Joyce clearly had a strong desire Harry Castling—Arthur J. Mills to include Dowie in his novel, for the evangelist was not in Dublin on 16 Shall I Wear a White Rose? ...... ( 5 : 12 ) June , . The principal reason seems to be that, whereas Leopold H. Saville Clarke—Emily Bardsley Farmer Bloom only fantasizes about establishing the “New Bloomusalem,” Dowie actually built his. Today about , Christians still describe 17 In Old Madrid ...... ( 3 : 55 ) themselves as “Dowieites.” In the rest of the world, John Alexander Clifton Bingham—H. Trotere Dowie is better remembered by Muslims (as a false prophet and enemy 18 Nuvoletta ...... ( 6 : 18 ) of Islam) than by Christians (as an early faith healer and forerunner FINNEGANS WAKE—Samuel Barber (opus 25, 1947) of Pentecostalism); and also, of course, by Joyceans—for his guest appearance in Ulysses. A full biography of Dr. Dowie is available on 19 The Lost Chord ...... ( 4 : 23 ) our website: www.james-joyce-music.com/extras/dowie_bio.html. Adelaide Anne Proctor —Sir Arthur Sullivan
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No yapping, if you please, in thi§ booth. I know and I am soµe vibrator. Words? Music? No :it’s what’s behind. (Ulysses, 274:33) ” “ Kevin McDermott
to the French poet, José Maria de Herèdia, ‘La musique des poètes n’a aucun rapport avec la musique des musiciens.’ Joyce was one of the “comparativelyA few poets who were musical in the musician’s sense. Yeats was tone deaf; so by deduction was Byron; so was Burns; but Joyce was gifted with a double ear, exquisite in both faculties. His first volume of poetry, Chamber Music, is one proof. The other is his success as a singer. Strange, almost incredible as it may seem now to his admirers, Joyce K MD, tenor, received his vocal train- R R, pianist, is a native of Kentucky and ing from his father, Raymond McDermott, a noted voice studied at the New England Conservatory in Boston. was more intent on becoming a singer than a writer.” So writes Oliver teacher in New York City. His earliest musical memories Through countless concerts, radio and television ap- St. John Gogarty (Ulysses’ Mulligan) in his essay James Joyce as a Tenor, in are of John McCormack, whose art, philosophy, and rep- pearances and recordings, both here and in Europe, which he describes Joyce’s voice in as “clarion clear and though ertoire have remained an important influence in his own Mr. Richey has built an international career as solo- career, which he has devoted to championing the forgotten ist and accompanist. Since he has been living in high pitched…not at all strident” and opines, “I think that he derived art of the song recital. He is internationally known for Europe, where he is also active as an opera conductor, more happiness from his voice than from his writing.” Possibly; but that his concerts of music from the works of James Joyce. composer, and author of stage plays. His most recently he was active both as a singer and as a writer throughout his entire life is He is a winner of the American Musciological Society’s performed works were a political musical based on the a matter of record. His encyclopædic knowledge of the music popular Noah Greenberg Award for Excellence in the Perfor- fairy tale Sleeping Beauty and a play based on the life of mance of Historical Music for his work as vocal soloist the composer Franz Schubert. Mr. Richey is currently a in his day, combined with a highly refined sensitivity to the often subtle with D.C. Hall’s New Concert & Quadrille Band, a member of the faculty of the Music Theater Department meanings and social distinctions connected with or evoked by individual group devoted to music in mid-th-century America. of the Folkwang Musik-hochschule in Essen, Germany.
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It restores. It vibrates. I aµ operating all this trunk line.
Zion, Illinois, Historical Society for her invaluable help in obtaining pieces of music or genres, allowed him to use music to great effect in the photographs of Dr. Dowie. My thanks to Ellwood Annaheim and his writing—and so he did, its structural importance increasing with Morrie Johnston for permission to quote material from their websites each succeeding work. The opinions and suggestions presented here are and to Ian Halligan, author of an upcoming biography of Michael those of a singer, intimately familiar with the music and culture of Balfe, for consultation concerning Killarney’s date of composition. Joyce’s time and informed by a -year association with Joyce’s literary works—but not with the immense body of secondary scholarship they SOURCES MENTIONED IN THE TEXT have generated. Expanded notes, additional background material, and Annaheim, Elwood: http://www.geocities.com/musictheater/floro/floroplot.html. full song texts will be found on our website, www.james-joyce-music.com. Chappell, William: Popular Music of the Olden Time, London: Chappell & This recording, complete in itself, also forms a continuation of the Co., . work presented in Music from the Works of James Joyce (Sunphone ). Finney, Ross Lee: Preface to Chamber Music: Songs to Words by James Joyce, unpublished; ?. Personal communication. A shortened version 1 IN THE SHADE OF THE PALM was published in the first edition: Chamber Music, New York: Henmar In that most musical chapter of Ulysses, , Joyce uses this song Press/C.F. Peters Corp., . repeatedly—although artfully misquoted: “O Idolores” and “fair maid Gogarty, Oliver St. John: Intimations, New York: Abelard Press, . of Egypt” are just two examples. Given the novel’s Homeric subtext, the Johnston, Morrie: http://moderick.typepad.com/life/2003/12/. attraction of the piece for Joyce is neatly (although unwittingly) summa- Luening, Otto: The Odyssey of an American Composer, New York: Charles rized by Ellwood Annaheim of the Musical Theater Research Project: “in one Scribner’s Sons, . of the score’s most beautiful melodies, he [the hero, Frank Abercoed] Read, Charles A. (ed.): The Cabinet of Irish Literature (vol. ), New York: tells Dolores he must go but will return for her if she waits patiently.” P. Murphy & Son, . The song is from Florodora, one of the great hit musical comedies of Stanford, Charles Villiers: Irish Melodies of Thomas Moore, (op. ) London: the turn of the th century; premiering in London in November , Boosey & Co., . it also had successful runs in New York and Paris. One of the selling
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†he deity ain’t no nickel dime bumshow. It’s just the cutest snappiest line out.
features of the show was a chorus line—besides their fleshy charms, the logic to create “harmonies” that are sometimes so allusive that their girls sang in the show’s other great hit, Tell Me, Pretty Maiden, Are There Any connections are perceptible by the brain, but not the eye. In the passage More at Home Like You?—and the Misses Douce and Kennedy may be seen at :–: Bloom does sit weary and ill at ease while his idly- as the “Florodora Girls” of Joyce’s musical comedy. wandering “four forkfingers” stretch the elastic in an explicitly musical Ulysses: :; :–; :–; :–; :–; :–; way, “double, fourfold, in octave.” Although Bloom is actually listening :–; :– to M’appari, the effect produced is that presented in The Lost Chord— music calms; quiets pain and sorrow; and points to a harmony existing 2 OH TWINE ME A BOWER beyond current circumstances. Thus this very minor musical allusion, 3 THE GROVES OF BLARNEY at the low midpoint of Bloom’s day, presents the same message that the In Portrait Uncle Charles sings these songs while banished to an out- novel’s most important one, Love’s Old Sweet Song, promises at its end: house in the back garden; he may be seen as a type of the unspoiled, “though the heart be weary; sad the day and long, still to us at twilight rural, pre-famine Irishman now trapped in the squalor and confusion comes love’s old sweet song.” of an urban and alien environment, a change he accepts with equanim- Ulysses: :; :– ity. Joyce’s care in apportioning appropriate musical materials to his characters is on display here: the songs mentioned are those of Charles’ ACKNOWLEDGMENTS youth in the s and have strong connections to the south of Ireland. Almost all page citations to music in Joyce’s works are drawn from Prof. Their authors were Corkonians, both of whom devoted a good part Zack Bowen’s Musical Allusions in the Works of James Joyce: Early Poetry of their lives to collecting folk traditions among the peasantry. The Through Ulysses, State University of New York Press, Albany, NY, , resemblance, however, stops there; the contrast between these writer’s ---; those items unreported by Prof. Bowen are cited approaches to Ireland’s past may well be part of Joyce’s decision to pair from the same editions used in his work. Gogarty’s essay, James Joyce as a their songs. T. Crofton Croker (–) was an early and sympathetic Tenor, was generously brought to my attention by Prof. Joseph Nugent collector of folk material, the source of a number of Thomas Moore’s of Boston College. I am particularly grateful to Carol Ruesch of the
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It is imµense, supersumptuous. I put it to you that he’s on the square.
The central concept of the novel is the endless cycle of all things, and melodies, and the author of song collections championing Ireland’s glo- through the book we see ALP begin as a small stream in the Wicklow rious past. His Oh Twine Me a Bower can be accepted as straightforward hills, join the river Liffey, pass into the sea, ascend as vapor to form a praise of the simple, but important, things in life—the only irony pro- cloud, and then—as the song begins (newly-born as Nuvoletta) gazing vided by the decidedly non-bucolic surroundings. The Groves of Blarney is over the “bannistars” trying to decide whether she will return to earth quite the other thing. According to Charles Read in his Cabinet of as rain to start the whole cycle again…. Irish Literature, Richard Alfred Millikin (–) wrote “many [songs] Finnegans Wake: Book , §, “Mookse and Gripes,” pp. – on the impulse of the moment and in burlesque on the doggerel flights of the hedge schoolmasters and local bards.” The most famous of these 19 THE LOST CHORD is the song at hand, written during a boozy meeting of Anglo-Irish Although its appearance in Ulysses is limited to a few passing thoughts, gentry. It is clear from the start what one is in for—the now extinct self- this song provides a good example of the depth at which Joyce consid- contradictory form of humor known as an “Irish bull” is prominently ered his materials and worked with them. Zack Bowen points out that, on display (murmuring…silent streams ; spontaneous posies planted in order). The superficially, Bloom’s free-association with the song suggests a broader central metaphor might be Blarney’s “rock close,” an early th-century knowledge of music than one might expect of him. Below this, however, assemblage of manufactured scenery given romantic names such as the lie more interesting connections—most importantly that The Lost Chord “Fairy Glade,” “Druid’s Circle,” and “Sacrificial Altar”—all of which shares a common theme with M’appari and Tutto è sciolto, two other pieces were built around, and completely overwhelm, what is probably an featured prominently in . All are musical expressions of grief actual prehistoric monument. The song, like the rock garden, offers a over a loss believed to be permanent which is, in fact, temporary. But stark contrast between an artificial and whimsical fantasy of Ireland’s I believe Joyce included The Lost Chord in this chapter primarily for its past created by and for her conquerors and the genuine remnants of depiction of music’s power to soothe and heal. In a chapter he acknowl- Ireland’s high, indigenous culture—clad in beggar’s robes and ridiculed edged was written using the techniques of musical composition, Joyce by those who destroyed it. seems to me also to be making use of music’s powerful yet nonexplicit Portrait: p.
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Be on the side of the angels. Be a pri§m. It’s the whole pie with jam in. 4 KILLARNEY Joyce’s choice of the song was influenced by its composer: the exotic- Beloved of Irishmen for a century after its appearance in the s, sounding “H. Trotère” was actually plain Henry Trotter (–), Killarney nonetheless has a strong whiff of the “West Briton” about it— ’cellist of the (fishless) Royal Aquarium orchestra, London. the district was one of the first recognized tourist areas and catered to a Ulysses: :–; :–; :–; :–; :–; :– primarily English clientele from the s onward. The song is a species of musical postcard, rattling off the attractions to be seen—and heard; 18 NUVOLETTA the final verse refers to one of the “must-dos,” in which visitors were The development of Joyce’s literary use of music might be stated as fol- rowed around the lake while a cornetist sounded bugle calls to awaken lows: title and subject (poetry); gloss (Dubliners); minor theme (Stephen echo. The preternaturally sensitive Joyce was almost surely aware of this Hero and Portrait); major theme and occasional technique (Ulysses); con- aspect of the song when he used it prominently in the nationalist con- substantiation (Finnegans Wake)—Joyce’s language has become music by cert delineated in the story A Mother: an ironic musical evocation of a then. To my mind, Samuel Barber (–) is the only composer to subservient Ireland offering its beauties (for a price) to moneyed and return the compliment, absorbing the essence of Joyce’s wordplay and unthinking transients. translating it into the music of Nuvoletta. Some examples of the themes Dubliners, “A Mother”: p. ; Portrait: p. and techniques he utilized are the song’s cyclic form and main theme, which evokes merry-go-round music; quotation (Wagner’s famous 5 OH! YE DEAD “ Tristan” chord sequence at tristis tristior tristissimus); multi-level puns (at The American composer Otto Luening remembered “Joyce had a strong first by ones and twos then by threes and fours, the musical intervals in the voice interest in Italian and Irish folk music. He sometimes hummed Thomas and the rhythms in the piano “count along”); and sheer joy in the Moore’s Irish melodies, particularly ‘O Ye Dead’”; this was in Zürich, at sound of sound (such as the unearthly echo of the weeping oh! oh! oh! the end of the ’teens. Joyce had been intrigued with the song since re- produced by the piano’s vibrating open strings). Anna Livia Plurabelle ceiving a letter from his brother Stanislaus in describing a concert is an archetype of the feminine, specifically in the element of water, in which the Irish baritone Harry Plunket Greene had sung it; Stanny and even more specifically in the river Liffey, which bisects Dublin.
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Ru§h your order and you play a §lick ace. Are you all in this vibration? I §ay you are.
return of her lover after a long voyage: “I must look my fairest when liked the piece and was particularly struck by Plunket Greene’s delivery tomorrow’s here; He will come to claim me! Shall I still be dear? I must of its second verse. Joyce asked for a copy, learned to sing it, and worked look my brightest on that happy day, As his fancy drew me when so far its themes and details—down to the famous snow—into the story he away.” In the recapitulation we have a glimpse of Ulysses/Poldy, as well: named after it: The Dead. When this program was created, the version “I shall need no roses if his heart be true”—to me, at least, another chosen for performance was the original setting by Sir Henry Bishop. indication that morning will bring reconciliation and a new start. Add Less than a month before going into the recording studio, Mr. Richey to this the song’s dreamy heroine attempting to choose between white (thinking ahead to one of our future projects) purchased a copy of roses and red ones (traditional symbols of sacred and profane love) and C. Villiers Stanford’s Moore settings. Being an inveterate reader of it’s clear why Joyce added it to Molly’s music roll and used it in the most “useless” trivia, he spent as much time looking at the publisher’s adver- famous ending in literature. tisements as at the music—and found that three songs were available Ulysses: :–; :–; :– separately, marked sung by Mr. Plunket Greene; one was Oh! Ye Dead. A quick series of rehearsals followed and the version heard here, significantly 17 IN OLD MADRID different not only in setting but also in melody and rhythm, is that Together with In the Shade of the Palm, this song is a musical incarnation which so impressed Stanislaus Joyce—and his brother. of the Homeric theme of travel to distant lands and also serves as the Leitmotiv of Molly’s youth in Gibraltar, much in her thoughts during the 6 LILLY DALE soliloquy. The piece first appears (literally) when Bloom shows Steven The identity of the composer has proved a mystery: little can be said Molly’s photo, asking if he thinks her “a Spanish type.” She isn’t, of of Thom(p)son except he flourished in the s and is supposed to course; and the “exotic” song is a domestic production seen sitting qui- have worked in Boston. He excelled in the exorbitantly maudlin songs etly enough on the piano rack at her side. All this occurs in the which were a standard feature of black-face minstrelsy—his other big chapter, presided over by the soi-disant world-traveling sailor who has hit, Annie Lisle, has the same dying, angelic young girl and fixation on really never been out of sight of the Irish coast; one wonders whether last wishes. According to Gogarty in James Joyce as a Tenor, Joyce “heard
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Have we cold feet about the cosmos? Bumboosers, save your stamps.
singing in his nursery and nature had endowed him with a musical ear.” been unable to determine—although my suspicion is the former, based As to the early use of that ear, a good—but unanswerable—puzzle for on the slim and rather inchoate nature of the lyrics, which have little Joyceans is whether the substitution of place for grave in young Stephen’s purpose except to provide three opportunities to shout “What-ho! She version of this song is the result of Bowdlerizing by his elders— bumps!” Whatever its genesis, the phrase has had a long life: first popu- unlikely, in my opinion—or his first recorded wordsmithery. lar among soldiers during the Boer War, it was still sufficiently current Portrait: pp. , in England for stop-action film pioneer George Pal to use as the title of one of his Puppetoons in . According to Morrie Johnston’s blog 7 STEPHEN’S PIANO IMPROVISATIONS (T H F, December , ), it is used today in the Australian There are several passages where Stephen Dedalus (like the real-life Joyce) Navy—and, apparently, among technodweebs Down Under as well: displays a knowledge of, and fondness for, older English music. In Stephen What Ho!, She Bumps. WHSB is an ONS (Old Naval Saying) and usually Hero “Stephen…retired silently to the piano where he began to strum referred to a collision. Its also got a modern meaning of “wow, it works.” So, old airs and hum them to himself until someone said ‘Do sing us sincere congratulations to Ben, Mena, Anil and the team for the upgrading something’ and then he left the piano and returned to the horsehair editing facility in Type Lists. It certainly pays to read the News occasionally. sofa” (:–); in another citation his material is stated more explic- itly: “Stephen used to sit down and sing his beautiful songs to the Ulysses: :–: polite, tired, unmusical audience. The songs, to him at least, were really beautiful—the old country songs of England and the elegant songs 16 SHALL I WEAR A WHITE ROSE? of the Elizabethans” (:–). Finally, we have actual titles in the scene Most of Molly’s repertoire dates from the s and early s, when at the end of Portrait in which Stephen attempts to impress E.C. by she would have been a young singer. This piece, in a noticeably older singing “a dainty song of the Elizabethans, a sad and sweet loth to style, is from the late s or early s and must have been one of depart, the victory chant of Agincourt, the happy air of Greensleeves” Molly’s first songs, as she knew it in Gibraltar. Joyce was attracted to to his own piano accompaniment (p. ). The dominance of William it for the scene it sets of a woman (Penelope/Molly) waiting for the
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Boys, do it now. God’s time is 12:25. Are you a god or a doggone clod?
remains resolutely dead and the narrator bereaved rather than em- Chappell’s Popular Music of the Olden Time in its field lasted more than braced. While it is in Molly’s repertoire (she considers it too long a century and can hardly be overstated. It is not surprising, therefore, for an encore, and is probably right), My Lady’s Bower is also the mu- that almost all the “old ballads and sea chanties” Joyce and his alter ego sical incarnation of Halcyon Days, the lithographic calendar art Gerty Stephen are known or reported to have sung can be found in the work. MacDowell hung on her outhouse wall: “You could see there was a I therefore posit Chappell’s book as the source of the various tunes story behind it” (Ulysses :–). This picture’s style—familiar to any- alluded to, on the grounds of likelihood corroborated by the telling one who has spent much time rooting through popular culture, to detail that “Greensleeves” is described as a “happy air;” the most com- —is a fuzzily romantic mixture of fashions worn during the last mon versions are in the minor mode. Chappell gives two variants, the half of the th century and the first third of the th: pannier dresses second of which is in fact a very merry major-key version. Taking that and regency gowns; tricornes and tophats. Although a small subset of liberty which we have in Christ Joyces, Mr. Richey has improvised a these illustrations were intended for men—usually showing drinking suite such as Stephen plays in Stephen Hero from the pieces mentioned scenes—most aimed their sentimental, ahistorical scenes of courtship in Portrait, using for his jumping-off point the melodies harmonized by straight at women such as the serving girls who did the marketing at G.F. Macfarren in Chappell’s work. Mr. Tunney’s grocery. Ulysses: :– 8 THE LASS THAT LOVES A SAILOR Music makes its first, silent, appearance in Eveline through mention of 15 WHAT-HO! SHE BUMPS! her family’s broken harmonium, an instrument associated with aspiring On Saturday, September , , The Era reported this song’s premiere lower middle-class domesticity and poor-parish religion. The useless at London’s Royal Theatre of Varieties: “Mr Charles Bignell, who never reed organ, an ikon of Eveline’s present circumstances, is given an ap- commits the fault of boring his hearers with stale songs, has made a propriate contrast by the most important musical allusion in the story: great hit with ‘What ho! She bumps!’” Whether the phrase preceded Charles Dibdin’s The Lass That Loves a Sailor. As a sketch of Frank, the and inspired the song, or the song launched the catch phrase, I have song presents a musical bona fide that he is exactly what he seems to be—
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Shout salvation in king Jesus. Tell mother you’ll be there.
cheerful, manly, and loving. Additionally, its images of blowing winds, edited lightly to make them cohere; Ross’ full text can be read on our sailing ships, and loyalty—of motion, change, and connection— website (www.james-joyce-music.com/extras/finney_cm_preface.html). embody the enticing future he offers and the means by which it might Poems and fall into an introductory group in which there is an be achieved—if only Eveline chooses. Typical of Joyce’s use of music adolescent vagueness about the beloved. These poems introduce the in Dubliners, the title is mentioned in passing; to draw on the insights ancient metaphor of music “in the earth and air” and the traditional to character and plot it provides one must be familiar with the song pastoral setting of love. The second lyric shifts to the nostalgic city itself. Dibdin (–) was the acknowledged lyric-poet laureate of sound of piano, and a different environment in which the adolescent Britain’s Navy during the Napoleonic wars. His charming vignettes of thinks of love. These first poems, madrigalesque in character, set the bluff Jack Tars drinking heartily, fighting victoriously, loving chastely, scene for the entire work. Lyric belongs to a group of songs of and dropping sentimental tears should be contrasted with the Citizen’s courting involved with breaking down the resistance of the beloved. blasphemous (but far more truthful) appreciation of life ’tween-decks They are generally optimistic in tone and are poems of spring and in Nelson’s day (Ulysses :–:). virginity. The second part of the cycle deals with disillusionment; Dubliners, “Eveline”: p. No. , in which Donnycarney gives the only specific reference to Ireland in the entire work, uses the symbol of the bat to reflect its more tortured mood. The “curtain” lyric (No. ) ends the section 9–13 SUITE FROM CHAMBER MUSIC sadly looking back to the beginning of the whole cycle. The American Ross Lee Finney (–) is one of the few composers to have set Chamber Music in its entirety, in . It was my honor to give the world premiere of several of the songs in . In an unpublished 14 MY LADY’S BOWER essay, Ross mounted a spirited defense of Joyce’s often-maligned early Born in Dublin as Alice Maude (Dotie) Davis ( –), “Hope Temple” work; much of this literary material was understandably cut when a seems to have had a strong line in faux th-century songs; another shortened version was published as the score’s preface in . I have effort is entitled The Old Garden—different lyricist, but the same concept excerpted passages relevant to the pieces selected for this suite and (“…it was call’d my Lady’s garden…”)—although the proprietor
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Shout salvation in king Jesus. Tell mother you’ll be there.
cheerful, manly, and loving. Additionally, its images of blowing winds, edited lightly to make them cohere; Ross’ full text can be read on our sailing ships, and loyalty—of motion, change, and connection— website (www.james-joyce-music.com/extras/finney_cm_preface.html). embody the enticing future he offers and the means by which it might Poems and fall into an introductory group in which there is an be achieved—if only Eveline chooses. Typical of Joyce’s use of music adolescent vagueness about the beloved. These poems introduce the in Dubliners, the title is mentioned in passing; to draw on the insights ancient metaphor of music “in the earth and air” and the traditional to character and plot it provides one must be familiar with the song pastoral setting of love. The second lyric shifts to the nostalgic city itself. Dibdin (–) was the acknowledged lyric-poet laureate of sound of piano, and a different environment in which the adolescent Britain’s Navy during the Napoleonic wars. His charming vignettes of thinks of love. These first poems, madrigalesque in character, set the bluff Jack Tars drinking heartily, fighting victoriously, loving chastely, scene for the entire work. Lyric belongs to a group of songs of and dropping sentimental tears should be contrasted with the Citizen’s courting involved with breaking down the resistance of the beloved. blasphemous (but far more truthful) appreciation of life ’tween-decks They are generally optimistic in tone and are poems of spring and in Nelson’s day (Ulysses :–:). virginity. The second part of the cycle deals with disillusionment; Dubliners, “Eveline”: p. No. , in which Donnycarney gives the only specific reference to Ireland in the entire work, uses the symbol of the bat to reflect its more tortured mood. The “curtain” lyric (No. ) ends the section 9–13 SUITE FROM CHAMBER MUSIC sadly looking back to the beginning of the whole cycle. The American Ross Lee Finney (–) is one of the few composers to have set Chamber Music in its entirety, in . It was my honor to give the world premiere of several of the songs in . In an unpublished 14 MY LADY’S BOWER essay, Ross mounted a spirited defense of Joyce’s often-maligned early Born in Dublin as Alice Maude (Dotie) Davis ( –), “Hope Temple” work; much of this literary material was understandably cut when a seems to have had a strong line in faux th-century songs; another shortened version was published as the score’s preface in . I have effort is entitled The Old Garden—different lyricist, but the same concept excerpted passages relevant to the pieces selected for this suite and (“…it was call’d my Lady’s garden…”)—although the proprietor
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Boys, do it now. God’s time is 12:25. Are you a god or a doggone clod?
remains resolutely dead and the narrator bereaved rather than em- Chappell’s Popular Music of the Olden Time in its field lasted more than braced. While it is in Molly’s repertoire (she considers it too long a century and can hardly be overstated. It is not surprising, therefore, for an encore, and is probably right), My Lady’s Bower is also the mu- that almost all the “old ballads and sea chanties” Joyce and his alter ego sical incarnation of Halcyon Days, the lithographic calendar art Gerty Stephen are known or reported to have sung can be found in the work. MacDowell hung on her outhouse wall: “You could see there was a I therefore posit Chappell’s book as the source of the various tunes story behind it” (Ulysses :–). This picture’s style—familiar to any- alluded to, on the grounds of likelihood corroborated by the telling one who has spent much time rooting through popular culture, to detail that “Greensleeves” is described as a “happy air;” the most com- —is a fuzzily romantic mixture of fashions worn during the last mon versions are in the minor mode. Chappell gives two variants, the half of the th century and the first third of the th: pannier dresses second of which is in fact a very merry major-key version. Taking that and regency gowns; tricornes and tophats. Although a small subset of liberty which we have in Christ Joyces, Mr. Richey has improvised a these illustrations were intended for men—usually showing drinking suite such as Stephen plays in Stephen Hero from the pieces mentioned scenes—most aimed their sentimental, ahistorical scenes of courtship in Portrait, using for his jumping-off point the melodies harmonized by straight at women such as the serving girls who did the marketing at G.F. Macfarren in Chappell’s work. Mr. Tunney’s grocery. Ulysses: :– 8 THE LASS THAT LOVES A SAILOR Music makes its first, silent, appearance in Eveline through mention of 15 WHAT-HO! SHE BUMPS! her family’s broken harmonium, an instrument associated with aspiring On Saturday, September , , The Era reported this song’s premiere lower middle-class domesticity and poor-parish religion. The useless at London’s Royal Theatre of Varieties: “Mr Charles Bignell, who never reed organ, an ikon of Eveline’s present circumstances, is given an ap- commits the fault of boring his hearers with stale songs, has made a propriate contrast by the most important musical allusion in the story: great hit with ‘What ho! She bumps!’” Whether the phrase preceded Charles Dibdin’s The Lass That Loves a Sailor. As a sketch of Frank, the and inspired the song, or the song launched the catch phrase, I have song presents a musical bona fide that he is exactly what he seems to be—
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Have we cold feet about the cosmos? Bumboosers, save your stamps.
singing in his nursery and nature had endowed him with a musical ear.” been unable to determine—although my suspicion is the former, based As to the early use of that ear, a good—but unanswerable—puzzle for on the slim and rather inchoate nature of the lyrics, which have little Joyceans is whether the substitution of place for grave in young Stephen’s purpose except to provide three opportunities to shout “What-ho! She version of this song is the result of Bowdlerizing by his elders— bumps!” Whatever its genesis, the phrase has had a long life: first popu- unlikely, in my opinion—or his first recorded wordsmithery. lar among soldiers during the Boer War, it was still sufficiently current Portrait: pp. , in England for stop-action film pioneer George Pal to use as the title of one of his Puppetoons in . According to Morrie Johnston’s blog 7 STEPHEN’S PIANO IMPROVISATIONS (T H F, December , ), it is used today in the Australian There are several passages where Stephen Dedalus (like the real-life Joyce) Navy—and, apparently, among technodweebs Down Under as well: displays a knowledge of, and fondness for, older English music. In Stephen What Ho!, She Bumps. WHSB is an ONS (Old Naval Saying) and usually Hero “Stephen…retired silently to the piano where he began to strum referred to a collision. Its also got a modern meaning of “wow, it works.” So, old airs and hum them to himself until someone said ‘Do sing us sincere congratulations to Ben, Mena, Anil and the team for the upgrading something’ and then he left the piano and returned to the horsehair editing facility in Type Lists. It certainly pays to read the News occasionally. sofa” (:–); in another citation his material is stated more explic- itly: “Stephen used to sit down and sing his beautiful songs to the Ulysses: :–: polite, tired, unmusical audience. The songs, to him at least, were really beautiful—the old country songs of England and the elegant songs 16 SHALL I WEAR A WHITE ROSE? of the Elizabethans” (:–). Finally, we have actual titles in the scene Most of Molly’s repertoire dates from the s and early s, when at the end of Portrait in which Stephen attempts to impress E.C. by she would have been a young singer. This piece, in a noticeably older singing “a dainty song of the Elizabethans, a sad and sweet loth to style, is from the late s or early s and must have been one of depart, the victory chant of Agincourt, the happy air of Greensleeves” Molly’s first songs, as she knew it in Gibraltar. Joyce was attracted to to his own piano accompaniment (p. ). The dominance of William it for the scene it sets of a woman (Penelope/Molly) waiting for the
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Ru§h your order and you play a §lick ace. Are you all in this vibration? I §ay you are.
return of her lover after a long voyage: “I must look my fairest when liked the piece and was particularly struck by Plunket Greene’s delivery tomorrow’s here; He will come to claim me! Shall I still be dear? I must of its second verse. Joyce asked for a copy, learned to sing it, and worked look my brightest on that happy day, As his fancy drew me when so far its themes and details—down to the famous snow—into the story he away.” In the recapitulation we have a glimpse of Ulysses/Poldy, as well: named after it: The Dead. When this program was created, the version “I shall need no roses if his heart be true”—to me, at least, another chosen for performance was the original setting by Sir Henry Bishop. indication that morning will bring reconciliation and a new start. Add Less than a month before going into the recording studio, Mr. Richey to this the song’s dreamy heroine attempting to choose between white (thinking ahead to one of our future projects) purchased a copy of roses and red ones (traditional symbols of sacred and profane love) and C. Villiers Stanford’s Moore settings. Being an inveterate reader of it’s clear why Joyce added it to Molly’s music roll and used it in the most “useless” trivia, he spent as much time looking at the publisher’s adver- famous ending in literature. tisements as at the music—and found that three songs were available Ulysses: :–; :–; :– separately, marked sung by Mr. Plunket Greene; one was Oh! Ye Dead. A quick series of rehearsals followed and the version heard here, significantly 17 IN OLD MADRID different not only in setting but also in melody and rhythm, is that Together with In the Shade of the Palm, this song is a musical incarnation which so impressed Stanislaus Joyce—and his brother. of the Homeric theme of travel to distant lands and also serves as the Leitmotiv of Molly’s youth in Gibraltar, much in her thoughts during the 6 LILLY DALE soliloquy. The piece first appears (literally) when Bloom shows Steven The identity of the composer has proved a mystery: little can be said Molly’s photo, asking if he thinks her “a Spanish type.” She isn’t, of of Thom(p)son except he flourished in the s and is supposed to course; and the “exotic” song is a domestic production seen sitting qui- have worked in Boston. He excelled in the exorbitantly maudlin songs etly enough on the piano rack at her side. All this occurs in the which were a standard feature of black-face minstrelsy—his other big chapter, presided over by the soi-disant world-traveling sailor who has hit, Annie Lisle, has the same dying, angelic young girl and fixation on really never been out of sight of the Irish coast; one wonders whether last wishes. According to Gogarty in James Joyce as a Tenor, Joyce “heard
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Be on the side of the angels. Be a pri§m. It’s the whole pie with jam in. 4 KILLARNEY Joyce’s choice of the song was influenced by its composer: the exotic- Beloved of Irishmen for a century after its appearance in the s, sounding “H. Trotère” was actually plain Henry Trotter (–), Killarney nonetheless has a strong whiff of the “West Briton” about it— ’cellist of the (fishless) Royal Aquarium orchestra, London. the district was one of the first recognized tourist areas and catered to a Ulysses: :–; :–; :–; :–; :–; :– primarily English clientele from the s onward. The song is a species of musical postcard, rattling off the attractions to be seen—and heard; 18 NUVOLETTA the final verse refers to one of the “must-dos,” in which visitors were The development of Joyce’s literary use of music might be stated as fol- rowed around the lake while a cornetist sounded bugle calls to awaken lows: title and subject (poetry); gloss (Dubliners); minor theme (Stephen echo. The preternaturally sensitive Joyce was almost surely aware of this Hero and Portrait); major theme and occasional technique (Ulysses); con- aspect of the song when he used it prominently in the nationalist con- substantiation (Finnegans Wake)—Joyce’s language has become music by cert delineated in the story A Mother: an ironic musical evocation of a then. To my mind, Samuel Barber (–) is the only composer to subservient Ireland offering its beauties (for a price) to moneyed and return the compliment, absorbing the essence of Joyce’s wordplay and unthinking transients. translating it into the music of Nuvoletta. Some examples of the themes Dubliners, “A Mother”: p. ; Portrait: p. and techniques he utilized are the song’s cyclic form and main theme, which evokes merry-go-round music; quotation (Wagner’s famous 5 OH! YE DEAD “ Tristan” chord sequence at tristis tristior tristissimus); multi-level puns (at The American composer Otto Luening remembered “Joyce had a strong first by ones and twos then by threes and fours, the musical intervals in the voice interest in Italian and Irish folk music. He sometimes hummed Thomas and the rhythms in the piano “count along”); and sheer joy in the Moore’s Irish melodies, particularly ‘O Ye Dead’”; this was in Zürich, at sound of sound (such as the unearthly echo of the weeping oh! oh! oh! the end of the ’teens. Joyce had been intrigued with the song since re- produced by the piano’s vibrating open strings). Anna Livia Plurabelle ceiving a letter from his brother Stanislaus in describing a concert is an archetype of the feminine, specifically in the element of water, in which the Irish baritone Harry Plunket Greene had sung it; Stanny and even more specifically in the river Liffey, which bisects Dublin.
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It is imµense, supersumptuous. I put it to you that he’s on the square.
The central concept of the novel is the endless cycle of all things, and melodies, and the author of song collections championing Ireland’s glo- through the book we see ALP begin as a small stream in the Wicklow rious past. His Oh Twine Me a Bower can be accepted as straightforward hills, join the river Liffey, pass into the sea, ascend as vapor to form a praise of the simple, but important, things in life—the only irony pro- cloud, and then—as the song begins (newly-born as Nuvoletta) gazing vided by the decidedly non-bucolic surroundings. The Groves of Blarney is over the “bannistars” trying to decide whether she will return to earth quite the other thing. According to Charles Read in his Cabinet of as rain to start the whole cycle again…. Irish Literature, Richard Alfred Millikin (–) wrote “many [songs] Finnegans Wake: Book , §, “Mookse and Gripes,” pp. – on the impulse of the moment and in burlesque on the doggerel flights of the hedge schoolmasters and local bards.” The most famous of these 19 THE LOST CHORD is the song at hand, written during a boozy meeting of Anglo-Irish Although its appearance in Ulysses is limited to a few passing thoughts, gentry. It is clear from the start what one is in for—the now extinct self- this song provides a good example of the depth at which Joyce consid- contradictory form of humor known as an “Irish bull” is prominently ered his materials and worked with them. Zack Bowen points out that, on display (murmuring…silent streams ; spontaneous posies planted in order). The superficially, Bloom’s free-association with the song suggests a broader central metaphor might be Blarney’s “rock close,” an early th-century knowledge of music than one might expect of him. Below this, however, assemblage of manufactured scenery given romantic names such as the lie more interesting connections—most importantly that The Lost Chord “Fairy Glade,” “Druid’s Circle,” and “Sacrificial Altar”—all of which shares a common theme with M’appari and Tutto è sciolto, two other pieces were built around, and completely overwhelm, what is probably an featured prominently in . All are musical expressions of grief actual prehistoric monument. The song, like the rock garden, offers a over a loss believed to be permanent which is, in fact, temporary. But stark contrast between an artificial and whimsical fantasy of Ireland’s I believe Joyce included The Lost Chord in this chapter primarily for its past created by and for her conquerors and the genuine remnants of depiction of music’s power to soothe and heal. In a chapter he acknowl- Ireland’s high, indigenous culture—clad in beggar’s robes and ridiculed edged was written using the techniques of musical composition, Joyce by those who destroyed it. seems to me also to be making use of music’s powerful yet nonexplicit Portrait: p.
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†he deity ain’t no nickel dime bumshow. It’s just the cutest snappiest line out.
features of the show was a chorus line—besides their fleshy charms, the logic to create “harmonies” that are sometimes so allusive that their girls sang in the show’s other great hit, Tell Me, Pretty Maiden, Are There Any connections are perceptible by the brain, but not the eye. In the passage More at Home Like You?—and the Misses Douce and Kennedy may be seen at :–: Bloom does sit weary and ill at ease while his idly- as the “Florodora Girls” of Joyce’s musical comedy. wandering “four forkfingers” stretch the elastic in an explicitly musical Ulysses: :; :–; :–; :–; :–; :–; way, “double, fourfold, in octave.” Although Bloom is actually listening :–; :– to M’appari, the effect produced is that presented in The Lost Chord— music calms; quiets pain and sorrow; and points to a harmony existing 2 OH TWINE ME A BOWER beyond current circumstances. Thus this very minor musical allusion, 3 THE GROVES OF BLARNEY at the low midpoint of Bloom’s day, presents the same message that the In Portrait Uncle Charles sings these songs while banished to an out- novel’s most important one, Love’s Old Sweet Song, promises at its end: house in the back garden; he may be seen as a type of the unspoiled, “though the heart be weary; sad the day and long, still to us at twilight rural, pre-famine Irishman now trapped in the squalor and confusion comes love’s old sweet song.” of an urban and alien environment, a change he accepts with equanim- Ulysses: :; :– ity. Joyce’s care in apportioning appropriate musical materials to his characters is on display here: the songs mentioned are those of Charles’ ACKNOWLEDGMENTS youth in the s and have strong connections to the south of Ireland. Almost all page citations to music in Joyce’s works are drawn from Prof. Their authors were Corkonians, both of whom devoted a good part Zack Bowen’s Musical Allusions in the Works of James Joyce: Early Poetry of their lives to collecting folk traditions among the peasantry. The Through Ulysses, State University of New York Press, Albany, NY, , resemblance, however, stops there; the contrast between these writer’s ---; those items unreported by Prof. Bowen are cited approaches to Ireland’s past may well be part of Joyce’s decision to pair from the same editions used in his work. Gogarty’s essay, James Joyce as a their songs. T. Crofton Croker (–) was an early and sympathetic Tenor, was generously brought to my attention by Prof. Joseph Nugent collector of folk material, the source of a number of Thomas Moore’s of Boston College. I am particularly grateful to Carol Ruesch of the
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It restores. It vibrates. I aµ operating all this trunk line.
Zion, Illinois, Historical Society for her invaluable help in obtaining pieces of music or genres, allowed him to use music to great effect in the photographs of Dr. Dowie. My thanks to Ellwood Annaheim and his writing—and so he did, its structural importance increasing with Morrie Johnston for permission to quote material from their websites each succeeding work. The opinions and suggestions presented here are and to Ian Halligan, author of an upcoming biography of Michael those of a singer, intimately familiar with the music and culture of Balfe, for consultation concerning Killarney’s date of composition. Joyce’s time and informed by a -year association with Joyce’s literary works—but not with the immense body of secondary scholarship they SOURCES MENTIONED IN THE TEXT have generated. Expanded notes, additional background material, and Annaheim, Elwood: http://www.geocities.com/musictheater/floro/floroplot.html. full song texts will be found on our website, www.james-joyce-music.com. Chappell, William: Popular Music of the Olden Time, London: Chappell & This recording, complete in itself, also forms a continuation of the Co., . work presented in Music from the Works of James Joyce (Sunphone ). Finney, Ross Lee: Preface to Chamber Music: Songs to Words by James Joyce, unpublished; ?. Personal communication. A shortened version 1 IN THE SHADE OF THE PALM was published in the first edition: Chamber Music, New York: Henmar In that most musical chapter of Ulysses, , Joyce uses this song Press/C.F. Peters Corp., . repeatedly—although artfully misquoted: “O Idolores” and “fair maid Gogarty, Oliver St. John: Intimations, New York: Abelard Press, . of Egypt” are just two examples. Given the novel’s Homeric subtext, the Johnston, Morrie: http://moderick.typepad.com/life/2003/12/. attraction of the piece for Joyce is neatly (although unwittingly) summa- Luening, Otto: The Odyssey of an American Composer, New York: Charles rized by Ellwood Annaheim of the Musical Theater Research Project: “in one Scribner’s Sons, . of the score’s most beautiful melodies, he [the hero, Frank Abercoed] Read, Charles A. (ed.): The Cabinet of Irish Literature (vol. ), New York: tells Dolores he must go but will return for her if she waits patiently.” P. Murphy & Son, . The song is from Florodora, one of the great hit musical comedies of Stanford, Charles Villiers: Irish Melodies of Thomas Moore, (op. ) London: the turn of the th century; premiering in London in November , Boosey & Co., . it also had successful runs in New York and Paris. One of the selling
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No yapping, if you please, in thi§ booth. I know and I am soµe vibrator. Words? Music? No :it’s what’s behind. (Ulysses, 274:33) ” “ Kevin McDermott
to the French poet, José Maria de Herèdia, ‘La musique des poètes n’a aucun rapport avec la musique des musiciens.’ Joyce was one of the “comparativelyA few poets who were musical in the musician’s sense. Yeats was tone deaf; so by deduction was Byron; so was Burns; but Joyce was gifted with a double ear, exquisite in both faculties. His first volume of poetry, Chamber Music, is one proof. The other is his success as a singer. Strange, almost incredible as it may seem now to his admirers, Joyce K MD, tenor, received his vocal train- R R, pianist, is a native of Kentucky and ing from his father, Raymond McDermott, a noted voice studied at the New England Conservatory in Boston. was more intent on becoming a singer than a writer.” So writes Oliver teacher in New York City. His earliest musical memories Through countless concerts, radio and television ap- St. John Gogarty (Ulysses’ Mulligan) in his essay James Joyce as a Tenor, in are of John McCormack, whose art, philosophy, and rep- pearances and recordings, both here and in Europe, which he describes Joyce’s voice in as “clarion clear and though ertoire have remained an important influence in his own Mr. Richey has built an international career as solo- career, which he has devoted to championing the forgotten ist and accompanist. Since he has been living in high pitched…not at all strident” and opines, “I think that he derived art of the song recital. He is internationally known for Europe, where he is also active as an opera conductor, more happiness from his voice than from his writing.” Possibly; but that his concerts of music from the works of James Joyce. composer, and author of stage plays. His most recently he was active both as a singer and as a writer throughout his entire life is He is a winner of the American Musciological Society’s performed works were a political musical based on the a matter of record. His encyclopædic knowledge of the music popular Noah Greenberg Award for Excellence in the Perfor- fairy tale Sleeping Beauty and a play based on the life of mance of Historical Music for his work as vocal soloist the composer Franz Schubert. Mr. Richey is currently a in his day, combined with a highly refined sensitivity to the often subtle with D.C. Hall’s New Concert & Quadrille Band, a member of the faculty of the Music Theater Department meanings and social distinctions connected with or evoked by individual group devoted to music in mid-th-century America. of the Folkwang Musik-hochschule in Essen, Germany.
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A.J. Christ Dowie and the harmonial philosophy. All join heartily in the singing!
OHN ALEXANDER DOWIE, the tutelary deity of this Suite from CHAMBER MUSIC (1952) ...... Ross Lee Finney Jrecording, was born in Edinboro’ in . A healing from chronic 9 Strings in the Earth and Air (I) ...... ( 1 : 39 ) indigestion led to his growing activity as a faith healer; he ran heal- 10 The Twilight Turns from Amethyst (II) ...... ( 1 : 52 ) ing services in a large tabernacle opposite Buff alo Bill’s Wild West Show Bright Cap and Streamers (X) ( 1 : 04 ) during the Chicago World’s Fair of . In he established the Chris- 11 ...... tian Catholic Church and, in , founded a true American theocracy: 12 O, It Was Out by Donnycarney (XXXI) ...... ( 1 : 25 ) Zion, Illinois. At the height of his power Dowie was worth several mil- 13 Love Came to Us in Time Gone By (XXX) ...... ( 1 : 42 ) lion dollars and claimed , followers. In Dowie also proclaimed ( 4 : 27 ) himself “Elijah the Restorer” and began to wear High-Priestly robes, 14 My Lady’s Bower ...... causing dissension in his church. He was deposed in amid rumors Frederick E. Weatherly—“Hope Temple” (Alice M. Davis) of sexual and financial malfeasance, suff ered a stroke, and died in . 15 What-Ho! She Bumps! ...... ( 3 : 33 ) Although a minor character in Ulysses, Joyce clearly had a strong desire Harry Castling—Arthur J. Mills to include Dowie in his novel, for the evangelist was not in Dublin on 16 Shall I Wear a White Rose? ...... ( 5 : 12 ) June , . The principal reason seems to be that, whereas Leopold H. Saville Clarke—Emily Bardsley Farmer Bloom only fantasizes about establishing the “New Bloomusalem,” Dowie actually built his. Today about , Christians still describe 17 In Old Madrid ...... ( 3 : 55 ) themselves as “Dowieites.” In the rest of the world, John Alexander Clifton Bingham—H. Trotere Dowie is better remembered by Muslims (as a false prophet and enemy 18 Nuvoletta ...... ( 6 : 18 ) of Islam) than by Christians (as an early faith healer and forerunner FINNEGANS WAKE—Samuel Barber (opus 25, 1947) of Pentecostalism); and also, of course, by Joyceans—for his guest appearance in Ulysses. A full biography of Dr. Dowie is available on 19 The Lost Chord ...... ( 4 : 23 ) our website: www.james-joyce-music.com/extras/dowie_bio.html. Adelaide Anne Proctor —Sir Arthur Sullivan
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Now then, our Glory Song! You call me up by sunphone any old time. PROGRAMME CREDITS Recorded by Joseph C. Chilorio of M H P, Mechanics Hall, Worcester MA, March –, . 1 In the Shade of the Palm ...... ( 6 : 08 ) From FLORODORA: “Leslie Stuart” (Tom Barrett) Design and typography by Kevin McDermott. Text set in digitizations of Centaur by Bruce Rogers ( ) and Colm Cille by Colm Ó Lochlainn (.) 2 O Twine Me a Bower ...... ( 3 : 40 ) Thomas Crofton Croker, Esq.—Hon. D. Roche Artiste’s Photographs by Todd Gieg () and Georg Schreiber (). 3 The Groves of Blarney ...... ( 4 : 40 ) ILLUSTRATIONS Richard Alfred Millikin; Air, Castle Hyde F : “The Rev. John Alexander Dowie, General 4 Killarney ...... ( 5 : 11 ) Overseer of the Christian Catholic Church in Zion,” c. . from THE COLLEEN BAWN; Edmund Falconer—Michael Balfe B : John Alexander Dowie, “First Apostle of the Lord 5 Oh! Ye Dead ...... ( 3 : 32 ) Jesus the Christ” in his robes as Elijah, . Both images of Dr. Dowie were Words by Thomas Moore; Air, Plough Whistle, arr. by C. Villiers Stanford published as supplements to L H and are courtesy of the Zion, IL, Historical Society. 6 Lilly Dale ...... ( 3 : 46 ) I : Joyce in Trieste, , taken by Ottocaro Weiss. Courtesy H.S. Thom(p)son of the Poetry Collection, SUNY Buffalo. 7 Suite of Stephen’s Piano Improvisations ...... Ralph Richey B : Joyce in Paris, , taken by photographer “Loath to Depart”; “The Agincourt Carol”; “Greensleeves” ...... ( 4 : 34 ) Gisèle Freund. 8 The Lass That Loves a Sailor ...... ( 2 : 38 ) Visit us on the Web at: www.james-joyce-music.com Charles Dibdin © 2006 Sunphone Records
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“He would seat himself at the piano, drooping ELIJAH IS COMING! WASHED IN THE over the keys, and the old songs, his particular way of singing them in his BLOOD of the LAMB! sweet tenor voice, and the GLORY SONGS! expression on his face— these were things one The Noted American Evangelists, can never forget.” Mr. Kevin M’Dermott, tenor —Sylvia Beach and Mr. Ralph Richey, pianist WILL PERFORM MORE MUSIC FROM THE WORKS OF JAMES JOYCE!
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