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TRADITIONAL AMERICAN Folk Songs and Wagnalls’ 1915 Students’ Edition of a Standard Dictionary of the English Language. Dougherty’s vocal compositions and arrangements number Celius Dougherty’s inventive folk song arrangements and original songs have been approximately 200. This recording contains many of his American and British Isle heard on classical voice recitals and concert programs around the world for nearly folk song arrangements, his popular Sea Chanties and the complete unpublished a century. Born in 1902, the native Minnesotan found his calling in piano but wonderfully quaint duets for baritone and soprano entitled Six Songs from the performance and composition. He received musical training at the University of American Countryside. Minnesota (graduating magna cum laude in 1924), he then attended the Julliard School in New York. Dougherty travelled extensively with his piano duo partner THE SONGS Vincenz Ruzicka (who interestingly also provided the original artwork for a Stylistically, Dougherty’s folk song settings confer their source melodies with a majority of Dougherty’s song publications by G. Schirmer) and premiered several distinct character and sentiment through alterations to their traditionally compositions by notable composers such as Alban Berg, Darius Milhaud, Arnold recognized melodic, harmonic and rhythmic profiles. An examination of his Schoenberg, and Igor Stravinsky. As an accompanist and composer he frequently autographs reveals that at times he experimented with chordal voicing, subtly collaborated with prominent opera stars of the twentieth century including Eva crafted alternative harmonic progressions and slight melodic variants within Gautier, Marian Anderson, Eileen Farrell and William Warfield; his work with these measures and in unused staves of his song drafts. [See Examples 1– 3] These singers gave him ample opportunity to test and refine his vocal compositions. compositional experiments reflect his penchant for creative play with the intricate Musical expression of literary rhetoric was organic to his compositional relationship between words, meaning and music. Two of the folk songs recorded process. He not only set poetry by canonical authors like William Blake, Walt Whitman, and Emily Dickinson, but he also explored other types of literature that on this album have as their texts poems gathered by the influential American drew his curiosity. In his “Children’s Letter to the U.N.” he set letters written musicologist and folklorist John Avery Lomax, who, together with his son Alan, are by students from Public School No. 90 in Queens, New York. His amusingly credited with the collection of thousands of recordings, films and other documents idiosyncratic tastes led him also to set the definition of the word “love” in Funk of early twentieth-century American rural and industrial life.

2 3 While some of the folk songs, like the cowboy songs “Red River Valley” or “Colorado Trail” (this latter was recorded by the baritone Theodor Uppman and the Bell Telephone Hour Orchestra in the 1950’s and can be heard on The Art of Theodor Uppman Radio Broadcasts 1954-1957. Bell Telephone Hour Orchestra. Donald Vorhees, conductor. VAI Audio 1181, 1999, compact disc) are well known even today, other settings like “Bring My Lulu Home” or “Shady Grove” are more obscure but no less interesting. The blatantly humorous, “The Lady Who Loved a Pig” was labelled as a “Whopper” in the Social Songs category of the Lomaxes’s Our Singing Country: Folk Songs and Ballads. Dougherty’s setting underscores the inane dialogue of the lady and pig with the use of distinctly separate vocal registers for each character. Dedicated to the leading Metropolitan Opera baritone Leonard Warren, “Stewball” is the epic folk ballad of a fabled race horse from “way out in Californy.” Dougherty arranged each verse of the song to whimsically characterize Stewball’s action.

Example 1

4 5 Example 2 Example 3

6 7 FOLK SONG ARRANGEMENTS The Five Sea Chanties have been a staple of classical voice recitals since they were published in 1948. The group consists of “Shenandoah”; the working call-and- Colorado Trail Shady Grove response work song “Mobile Bay”; “Blow, Ye Winds” about life on a whaling clipper Eyes like the morning star, Shady grove, my true love, ship; “Rio Grande” about leaving for the Rio Grande do Sul in Brazil; and the Irish Cheek like a rose, Shady grove I know, sea chanty “Across the Western Ocean”, which was dedicated to Dougherty’s brother Sally was a pretty gal, Shady grove, my true love, Ralph who perished on the U.S.S. Arizona during the Japanese attack on Pearl God Almighty knows. I’m bound for the shady grove. Harbor in Hawaii on December 7, 1942. Weep, all ye little rains, Some come here to fiddle and dance, Originally commissioned by wife and husband, soprano Evelyn Lear and baritone Wail, winds, wail, Some come here to tarry, Thomas Stewart in 1965, Six Songs from the American Countryside assembles All along, along, along Some come here to fiddle and dance, several different folk song types within the group: a beloved nineteenth-century The Colorado Trail. I come here to marry. religious hymn, “Wayfaring Stranger”; a funny courting song that relates the plight Sweet as the Lilac grows, Shady grove, my true love, of a man who is refused by a woman because of his habitual drinking and gambling, Fair in the sun, Shady grove I know, “The Gambling Suitor”; two touching traditional sea chanties, “Good-bye Fare You Sally was a pretty gal, Shady grove, my true love, Well” and “Mary Ann”; a previously unrecorded, disturbing murder ballad about God Almighty knows. I’m bound for the shady grove. a son who reveals to his mother that he has killed his father, “Ballad of Edward”; Weep, all ye little rains, Wish I had a fiddle and string, and a popular contra dance, “Uncle Joe’s Reel” whose melody is borrowed from the Wail, winds, wail, Made of golden twine, eighteenth century Irish fiddle tune “Miss McLeod’s Reel” which provides a lively All along, along, along Ev’ry tune I’d pick on it is conclusion to the group. The Colorado Trail. “I wish that girl were mine.” Collected by Dr. T. L. Chapman Shady grove, my true love, Carl Sandburg’s The American Songbag Shady grove I know, SELECTED REFERENCES Dougherty, Celius. Folksongs and Chanties. New York: G. Schirmer, Inc., 2004. Dougherty, Celius. 30 Art Songs. New York: G. Schirmer Inc., 2004. Dougherty, Celius. Undated manuscript examples from “Colorado Trail” and “Red River Valley.” The Celius Dougherty Archives at the University of Minnesota, School of Music Library. Minneapolis, MN. Dougherty, Park. “Celius Hudson Dougherty.” Accessed October 24, 2016. http://www.celiusdougherty.org/gpage6.html 8 9 Shady grove, my true love, Throwed ashes in my face. “I’ll pin it with a silver pin, But first she bended and then she broke. I’m bound for the shady grove. The way that she mistreat me Honey,” said she, And so did my false love to me. Peaches in the summertime, Drive me to my grave. “That thou mayst go out and in,” A ship there is that sails the sea, Apples in the fall, Once you says you’s true to me, “Humph,” said he. She’s loaded deep, as deep can be, If I can’t have the girl I love to your lovin’ man. “O wilt thou have me now,” said she, But not so deep as the love I’m in, I won’t have none at all. Now you goes like any gal, “Honey,” said she, I know not if I sink or swim. Shady grove, my true love, goes from man to man. “Speak, or my heart will break.” O love is handsome and love is fine, Shady grove I know, When my heart struck sorrow, “Humph,” said he. And love’s a jewel when it is new, Shady grove, my true love, Tears come rolling down. Collected by John and Alan Lomax But when it is old it bloweth cold I’m bound for the shady grove. Wish to God that train would come, And fades away like morning dew. O Waly, Waly Bring my Lulu home. Bring my Lulu Home The water is wide, I cannot get o’er, Stewball Collected by John and Alan Lomax Train pulled out of Palestine, And neither have I wings to fly, Way out in Californy, Eighteen coaches long. The Lady Who Loved a Pig Give me a boat that will carry two, Where ol’ Stewball was born, All I want that train to do— There was a lady who loved a pig; And both shall row, my love and I. All the jockeys in the country Bring my Lulu home. “Honey,” said she, O down in the meadow the other day Said he blew there in a storm. I flag the train from Palestine, “Dear Pig, wilt thou be mine?” Agath’ring flow’rs both fine and gay, Ol’ Stewball was a white horse It keeps easin’ by. “Humph,” said he. Agath’ring flow’rs both red and blue before they paint him red, Fold my arms and hang my head, “I’ll build for thee a silver sty, I little thought what love can do. But he sure wined a great fortune Hang my head and cry. Honey,” said she, I laid my breast up against an oak, Jes’ before he fell dead. She jes’ drove me from her door, “And in it thou shalt lie.” Thinking that she was a trusting tree, “Humph,” said he.

10 11 There’s a big day in Dallas: Red River Valley Barbara Allen “O dinna ye mind, young man,” said she, doncha wish you’s there? From this valley they say you are going. In Scarlet Town where I was born “When the red wine ye were fillin’, You can bet your last dollar We will miss your bright eyes There was a fair maid dwellin’ Ye made the healths go round and round, on that iron gray mare. and bright smile. Made ev’ry youth cry well away And slighted Barb’ra Allen.” The kettledrum was a-bangin’ For they say you are taking the sunshine Her name was Barbara Allen. He turned his face unto the wall That brighten’d our pathway awhile. fo’ the horses to run One day, one day, in the month of May For death was with him dealin’ and ol’ Stewball was a tremblin’ Will you think of the valley you’re leaving, When green buds were a-swellin’ “Adieu, adieu, my dear friends all, like a criminal to be hung. Oh, how lonely and sad it will be? Young Jemmy Grove on his deathbed lay Be kind to Barb’ra Allen.” But you should’ve seen ol’ Stewball, Will you think of the Red River Valley For love of Barbara Allen. As she was walkin’ o’er the fields, And the grief you are causing to me? how he rambled down that nine mile round. He sent his man unto her then, She heard the death bell knellin’ You sure would’ve sworn that, Come and sit by my side if you love me To the town where she was dwellin’ And ev’ry toll the deathbell gave he never tech ground. Do not hasten to bid me adieu, “O haste and come to my master dear, Cried woe to Barb’ra Allen. The people they hollered, But remember the Red River Valley If your name be Barbara Allen,” “O mother, mother, make my bed, And the sweetheart that’s waiting for you. And the judges played the band, So slowly, slowly rose she up, O make it soft and narrow, ‘Cause ol’ Stewball beat them all As you go to your home by the ocean, And slowly came she to him, My love has died for me today, back to that gran’ stan’. May you never forget the sweet hours And when she drew the curtain by, I’ll die for him tomorrow.” Goin’ to build me a castle That we spent in the Red River Valley “Young man, I think you’re dyin’,” “Farewell,” she said, “ye virgins all, And the sweetheart that’s waiting for you. on the mountain so high, “O I am sick and very, very sick, And shun the fault I fell in; so’s I can see ol’ Stewball And it’s all for Barb’ra Allen,” Hence forth take warning by the fate as he passes by. “O it’s better for me ye’s never be, Of cruel Barb’ra Allen.” Though your heart’s blood be a-spillin’.”

12 13 Wayfaring Stranger I’m going there to meet my father, Sing goodbye to Nellie, Clear away your running gear and blow, I’m just a poor wayfaring stranger I’m going there no more to roam, sing goodbye to Sue, ye winds, heigh-o. Awand’ring through this vale of woe. I’m just a-going over Jordan, For we’re bound for the Rio Grande. It’s now we’re out to sea, boys, But there’s no sorrow, toil, nor danger I’m just a-going over home. Then away, you Rio, ‘Way, you Rio, the wind comes on to blow. In that far land to which I go. And you who are listening, Goodbye to you, One half the watch is sick on deck, Five Sea Chanties I’m going there to meet my father, For we’re bound for the Rio Grande. the other half below, singing, Rio Grande Blow, ye winds in the morning, I’m going there no more to roam, Blow, Ye Winds I’m just a-going over Jordan, Oh! Say, was you ever in Rio Grande? blow ye winds, heigh-o ‘Tis advertised in Boston, I’m just a-going over home. Oh, you Rio! Clear away your running gear and blow, Oh, say, was you ever on that strand? New York and Buffalo, ye winds, heigh-o. I know dark clouds will gather round me Five hundred brave Americans, Oh, you Rio! But now our trip is over and I know my way is rough and steep. a-whaling for to go, singing, Our ship is a going out over the bar, we don’t give a damn. But golden fields lie out before me Blow, ye winds in the morning, For we’re bound for the Rio Grande. We’ll bend on all our stu’nsails Where all the saints their vigils keep. blow ye winds, heigh-o and sail or Yankee land, singing, Then away, you Rio, ‘Way, you Rio, Clear away your running gear I’m going there to meet my mother, Blow, ye winds in the morning, We’ll point her nose for the Southeron star, and blow, ye winds, heigh-o. I’m going there no more to roam, For we’re bound for the Rio Grande! blow ye winds, heigh-o I’m just a-going over Jordan, They send you to New Bedford, Clear away your running gear and blow, Then blow ye winds westerly, westerly blow, I’m just a-going over home. that famous whaling port. ye winds, heigh-o. Oh, you Rio! I’m just a poor wayfaring stranger They put you on a clipper ship before We’re bound to the south’ard so you know you’re out, singing, Awand’ring through this vale of woe. steady she goes, Oh, you Rio! But there’s no sorrow, toil, nor danger Blow, ye winds in the morning, In that bright world to which I go. blow ye winds, heigh-o

14 15 Across the Western Ocean Mobile Bay Aye, aye, heave away, Missouri she’s a mighty river, Oh, the times are hard and the wages low, Was you ever down in Mobile Bay? Heave away and draw your pay. Hi-o! you rolling river, Oh, sailor, where you bound to? Johnny, come tell us and heave away, And before we go we’ll sing this song, When she rolls down her topsails shiver, The Rocky Mountains are my home, A-heaving cotton by the day, It’s time for us to leave her. Hi-o! I’m bound away, Across the western ocean. Johnny, come tell us and heave away, We’ll sing, “O may we never be,” ‘Cross the wide Missouri. We are going away from friends and home, Aye, aye, heave away, Johnny, come tell us and heave away; Farewell, my dearest, Oh, sailor, where you bound to? Heave away and draw your pay. “On a hungry ship the like of she,” I’m bound to leave you; We’re going away to search for gold, A dollar a day is a sailor’s pay, Johnny, come tell us and heave away. Hi-o! you rolling river, Across the western ocean. To work all night and pump all day. Aye, aye, heave away, O Shenandoah, I’ll not deceive you, Heave away and draw your pay, Hi-o! I’m bound away, Fathers, mothers, say goodbye. The work is hard, the ship is old, ‘Cross the wide Missouri Oh, sailor, where you bound to? Johnny, come tell us and heave away, The rats have gone, and we, the crew, It’s time, by God, that we went too! Sisters, brothers, don’t you cry, There’s six feet of water in her hold; Songs of the O’er the western ocean. Johnny, come tell us and heave away, Shenandoah American Countryside Oh, the times are hard and the wages low, Aye, aye, heave away, O Shenandoah, I hear you calling, I. Wayfaring Stranger Oh, sailor, where you bound to? Heave away and draw your pay, Hi-o! you rolling river. MAN: The Rocky Mountains are my home, The bo’sun shouts, the pumps stand by, O Shenandoah, I long to hear you, I’m just a poor wayfaring stranger Across the western ocean. But we can never pump her dry. Hi-o! I’m bound away, Awand’ring through this vale of woe. The winds were foul, the trip was long, ‘Cross the wide Missouri. But there’s no sorrow, toil, nor danger O leave her, Johnny, leave her. In that far land to which I go. The grub was bad, but the gin was strong, It’s time for us to leave her.

16 17 WOMAN: I’m going there to meet my father, WOMAN: MAN: I’m going there to meet my father, I’m going there no more to roam, O sir, I know it’s a very fine house, O miss, I have a very fine farm, I’m going there no more to roam, I’m just a-going over Jordan, and also a very fine yard. it’s sixty acres wide. I’m just a-going over Jordan, I’m just a-going over home. But who will stay with me at night And you shall have it at your command I’m just a-going over home. When you’re down at the barroom If you will be my bride, my bride, II. The Gambling Suitor playing cards, at the barroom playing cards. if you will be my bride. MAN: I know dark clouds will gather round me WOMAN: MAN: WOMAN: I know my way is rough and steep. O sir, I see you coming again, pray O miss, I don’t play cards at night, O sir, I know it’s a very fine farm But golden fields lie out before me tell me what it’s for! I never thought it right. and full of very fine fruit, Where all the saints their vigils keep. When we said goodbye the other night If you consent to be my bride, When I get in I’ll turn you out, I told you to come no more, no more, WOMAN: I’ll stay away nary a night, a night, And keep you out, to boot, to boot, I told you to come no more. I’ll stay away nary a night. and keep you out to boot. I’m going there to meet my mother, I’m going there no more to roam, MAN: WOMAN: MAN: I’m just a-going over Jordan, O miss, I have a very fine house, Kind sir, I know the meaning of that, O miss, I have a very fine horse, I’m just a-going over home. it’s newly built with pine, it’s just to take me in. it paces like the tide. And you may have it at your command, MAN: When you get me at your command, If you say yes and marry me, If you will be my bride, my bride, You’ll gamble and drink again, again, you can have my horse to ride, I’m just a poor wayfaring stranger if you will be my bride. Awand’ring through this vale of woe. you’ll gamble and drink again. to ride, you can have my horse to ride. But there’s no sorrow, toil, nor danger In that bright world to which I go.

18 19 WOMAN: WOMAN: Goodbye, my love it’s time to go. MAN: O sir, I know your very fine horse, Fare you well, my own true love, And I say so and I know so. It is my father’s blood you see, the horse that knows no harm, It’s time to say goodbye. I’m bound away across the sea, And the truth I have told to thee. His master drinks and gambles so, ten thousand miles from home. WOMAN/MAN WOMAN: I’m afraid that his horse might learn, Goodbye, fare you well, IV. The Ballad of Edward And where will you go might learn, I’m afraid that his goodbye fare you well, WOMAN: and what will you do, horse might learn. The time has come when you How came that blood on your shirt sleeve, My son, come tell to me! MAN/WOMAN: and I must part. My son, come tell to me! Well miss/sir, you don’t/won’t MAN: I’m bound away, ten thousand like me at all, I think it’s very plain, MAN: I’ll set my foot in a bottomless boat, miles from home. I’ll marry whom I please It is the blood of the old grey hound And drift forever an aye. and you can go and do the same, WOMAN: That ran the deer for me. WOMAN: and you can go and do the same. The anchor’s weigh’d, WOMAN: And what will you do with your the cables stowed, Your grey hound’s blood is not so red, newlywed wife, heave away, heave away. III. Good-bye, Fare You Well My son, come tell to me! My son, come tell to me! MAN: MAN: MAN: MAN: Goodbye, my love, it’s time to go The sails are set, the wind comes It is the blood of the old grey horse I’ll send her away from the grief and pain and I say so and I know so, on to blow that ploughed the fields for me. Where she never will hear of me. I’m bound away and across the sea We’re onward bound and Ten thousand miles from home. sailing over the bar. WOMAN: Your horse’s blood is not so red, My son, come tell to me!

20 21 WOMAN: O do you see yon crow flying high, Won’t you take me over yonder MAN: And what will you do with your she’ll surely turn to white, to the dance, to the dance, I give my hand, and heart to you. sweet little boy, If I ever be false to you, my Love, Don’t mind the weather Don’t mind the weather My son, come tell to me! Bright morning turn to night, so the wind don’t blow. so the wind don’t blow. MAN: my dear Mary Ann. Hop up my ladies, three in a row, Hop up my ladies, three in a row, I’ll leave him alone for to wait and wonder Do you see the grass that’s under Don’t mind the weather Don’t mind the weather What’s come of his mother and me. your feet arise and grow again? so the wind don’t blow. so wind don’t blow. WOMAN: For love surely is a killing thing, O, I’ll buy a horse and saddle O, I want to got to heaven when And what will you leave to O have you felt the pain, did you ever for to ride, for to ride, I die, when I die, your mother dear, feel the pain, my dear Mary Ann? Don’t mind the weather Don’t mind the weather so the My son, come tell to me! so the wind don’t blow. wind don’t blow. VI. Uncle Joe’s Reel Hop up my ladies, three in a row, Hop up my ladies, three in a row, MAN: Did you ever go to meetin’, Don’t mind the weather Don’t mind the weather The curse of God I leave to you Uncle Joe, Uncle Joe, so the wind don’t blow. so the wind don’t blow. For bringing this doom upon me! Don’t mind the weather WOMAN: We’ll ride away together over hill, so the wind don’t blow. Won’t you offer me your hand over dale, V. Mary Ann Hop up my ladies, three in a row, and heart, and your heart, Don’t mind the weather O do you hear yon mourning dove Don’t mind the weather Don’t mind the weather so the wind don’t blow. a-singing upon the bough, so the wind don’t blow. so the wind don’t blow. Hop up my ladies, three in a row, Lamenting the loss of her own true love Hop up my ladies, three in a row, Don’t mind the weather As I do now for you, my dear Mary Ann Don’t mind the weather so the wind don’t blow. so the wind don’t blow.

22 23 TOD FITZPATRICK Undergraduate and graduate students with whom he has worked Baritone Tod Fitzpatrick is an active have gone on to win national voice competitions, perform with singer, teacher and researcher. Inter- professional opera companies, perform in Broadway productions ested in a variety of vocal repertoire, and earn university teaching positions in addition to performing his performance experience includes in numerous productions on the Las Vegas Strip. over forty operatic and music theater His educational background includes a Bachelor of Music in roles in addition to a substantial num- Voice Performance from Chapman University and both Master ber of oratorio and concert works. He also has a passion of Music and a Doctor of Musical Arts degrees in Voice for song recitals and new works for voice. He appeared Performance from the University of Southern California where as the Father in Virko Baley’s opera Holodomor: Red he received the Marilyn Horne Voice Scholarship. He also earned Earth. Hunger at the National Opera in Ukraine. Other a Certificate in Vocology from the National Center for Voice and ensembles and organizations with which he has sung Speech located at the Denver Center for the Performing Arts include the Los Angeles Philharmonic, the Los Angeles and the University of Iowa. Currently, Associate Professor of Opera, Opera Pacific, the Virginia Symphony, Virginia Music at the University of Nevada, Las Vegas, he teaches voice Opera, the Los Angeles Mozart Orchestra, and serves as the Associate Director of the School of Music. the Britten-Pears Programme in Aldeborough, the San Francisco Opera Center, the Tanglewood Music ALAN SMITH Center, the Sacramento Choral Society, the Las Vegas Pianist Alan Smith enjoys a reputation Philharmonic, and the Utah Festival Opera Company. as one of the United States’ most highly Composers Jennifer Barker and Judy Cloud regarded figures in the field of collaborative feature him on recordings of their songs. He served artistry. His performing experiences have as the Cal-Western Regional Governor for the National included associations in major musical Association of Teachers of Singing and coordinated the venues with such musical personalities as prestigious NATS Intern Program. He also served as bass-baritone, Thomas Stewart; soprano, Co-Director of the National Council Auditions for the Barbara Bonney; mezzo-soprano, Stephanie Blythe; violist, Metropolitan Opera in Las Vegas. Donald McInnes; violinist, Eudice Shapiro; as well as the Fitzpatrick was honored to win the 2014 UNLV Los Angeles Chamber Virtuosi. Broadcasts of his performances, College of Fine Arts “Teacher of the Year Award.” 24 compositions and interviews have been aired internationally. 25 His expertise and experience in song literature, MARIA JETTE chamber music and opera make him much sought Soprano Maria Jette’s wide-ranging career after as an accompanist, coach, faculty colleague, has encompassed everything from early teacher of master classes and adjudicator of area and Baroque opera to world premieres, in the international competitions, including regular engage- United States and abroad. Her orchestral ments as a judge for the Metropolitan Opera National resumé includes The Saint Paul Chamber Council Auditions. Orchestra, Los Angeles Chamber Orchestra, At the USC Thornton School of Music, Professor Minnesota Orchestra, Houston, Kansas City, Smith serves as the chair of Keyboard Studies and still San Luis Obispo, Santa Rosa, Charlotte, Buffalo, Grand Rapids, serves as the director of the Keyboard Collaborative Austin, Marin and San Antonio Symphonies, New York Chamber Arts Program, one of the oldest and largest programs Symphony, Portland Baroque Orchestra and Musica Angelica; of its kind the country. Having studied with the plus Berkshires Opera, Roanoke Opera, Sacramento Opera, and legendary Martin Katz, Alan Smith has become a the sadly defunct Ex Machina Antique Music Theatre in her teacher of renown himself; among his awards are the home base of Minneapolis-St. Paul. There, she’s often heard with Virginia Ramo Award for excellence in teaching and VocalEssence (led by conductor Philip Brunelle), Chamber Music the Dean’s Award for Excellence in Teaching from Society of Minnesota, Minnesota Sinfonia The Schubert Club and the Thornton School and the Inaugural Mellon Award Lyra Baroque Orchestra. Certificate of Recognition for Excellence in Mentoring. A regular guest over many seasons at the San Luis Obispo His current and former students maintain important Mozart and Oregon Bach Festivals, the Maverick Chamber Series positions internationally in the field of collaborative and the Oregon Festival of American Music, she’s often heard piano and coaching. He has served for 24 years as nationally on Garrison Keillor’s A Prairie Home Companion. a member of the vocal coaching faculty at the Tangle- Maria is an ecumenical recitalist: her programs range from wood Music Center in western Massachusetts, was songs of Grieg or Fauré through Edwardian parlor music and formerly that program’s vocal program coordinator Latin American chamber music, liberally interspersed with Tin and most recently served as the coordinator of the Pan Alley and the Great American Songbook. She’s performed piano program, for which he held a named chair as her own productions of Seuss/Kapilow’s “Green Eggs & Ham” the Marian Douglas Martin Master Teacher. and Gertrude McFuzz for over 50,000 kids throughout the country, with pit bands, symphony orchestras, and even just 26 piano and train whistle! 27 I wish to thank several fine folks who assisted me with this project. Firstly, thank you to my former and current university colleagues Carol Kimball and Alfonse Anderson for their support before and during my sabbatical from the Thank you University of Nevada, Las Vegas. In researching Dougherty’s songs, Bill Pederson from the University of Minnesota Music Library and the staff at the Schubert Club were very helpful in accessing Dougherty’s archives. Judy Bender, an early champion of Dougherty’s work, graciously shared her research. Knowles Dougherty provided some insight- ful anecdotes about Celius and his musical life and Sonja Thompson contributed her impressive collaborative skills in our Minnesota rehearsals. Alan Bowers and Anthony Barone provided valuable advice while our UNLV students Xavier Brown, Carolina Gamazo, David Casey and Shane Jensen were wonderful assistants during the recording sessions. I am especially grateful to Park Dougherty for our insightful discussions about Celius’ life and music and for him allowing me to view his well-catalogued musical holdings in

Recorded at the Beam Music Center South Carolina. Jonathan Good and Sue Mueller, Department Recital Hall on the campus of the of Music Chairs were supportive of this project and Chuck University of Nevada, Las Vegas. Foley, UNLV Recording Studio Engineer collaborated Piano: Steinway & Sons, Model D seamlessly with Andreas Meyer, our talented recording Producer and Engineer: Andreas K. Meyer engineer. Finally, a monumental and heartfelt thanks to For more information visit: TodFitzpatrick.com Alan Smith and Maria Jette for their amazing musical abilities,. valuable time and friendship along the way. Registered and Trademarked by Meyer Media LLC

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