INFORMATION TO USERS

The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.

In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.

Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge.

Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order.

UMI University Microlilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600

Order Number 9002008

Welsh choral music in America in the nineteenth century

Pohly, Linda Louise, Ph.D.

Tlie Ohio State University, 1989

Copyright © 1 9 8 9 by Pohly, Linda Louise. All rights reserved.

UMI 300 N. Zeeb R d Ann Aibor, MI 48106

WELSH CHORAL MUSIC IN AMERICA

IN THE NINETEENTH CENTURY

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of the Ohio State University

By

Linda Louise Pohly, B.A., M.M.

*****

The Ohio State University

1989

Dissertation Committee Approved by Martha Maas Co-Adviser

Susan L. Porter Co-Adviser School of Music Burdette Green Copyright by Linda Louise Pohly 1989 ACKNOWLEDGMENTS

I appreciate the guidance and support given by Drs.

Martha Maas, Susan Porter, and Burdette Green. Thanks go to Dr. Edward George Hartmann of Boston and Lloyd Savage of Chillicothe, Ohio, for their suggestions and advice.

Gratitude is expressed to the staffs of the National

Library of Wales, the Lackawanna Historical Society, the

Ohio Historical Society, the Ohio State University

Libraries, the Allen County Historical Society, the Oak

Hill Welsh Museum, the Milwaukee Public Library, the Lyon

County Historical Museum, Butler County Community College

Library, and all the other libraries and museums that contributed Welsh materials. I gratefully acknowledge the help of all who assisted in the research as I travelled about Pennsylvania, Ohio, Wisconsin, and Kansas, and the financial support of the Ohio State University, the

National Welsh-American Foundation, and my family. I thank the Barnharts and the Welsh-Americans that I met who so willingly offered their assistance and accommodations, and my family and friends for their patience and help.

The technical assistance of Bill Morgen is sincerely appreciated.

ii VITA

September 2, 1954 ...... Born - Mt. Clemens, Michigan

1976 ...... B.A., Olivet College, Olivet, Michigan

1978 ...... M.M., Wichita State University, Wichita, Kansas

1979-1981...... Instructor of Music, Pratt Community College, Pratt, Kansas

1981-Present ...... Instructor of Music, Butler County Community College, El Dorado, Kansas

1985-1986, 1989 ...... Teaching Associate, Ohio State University, Columbus, Ohio

PUBLICATIONS

"Early Musical Development in Wichita," Kansas History 5, no. 4 (Winter 1982): 243-255.

FIELDS OF STUDY

Major Fields: Musicology American Music

Choral music

iii TABLE OF CONTENTS

ACKNOWLEDGMENTS ...... ii

VITA ...... iii

LIST OF F I G U R E S ...... vi

INTRODUCTION ...... 1

Welsh Musical Customs and Emigration ...... 1 The Musical Background in Wales ...... 4 The Pattern of Welsh Immigration to the United States ...... 7

CHAPTER PAGE

I. WELSH CHORAL ACTIVITY IN PENNSYLVANIA AND O H I O ...... 10

The Welsh in Pennsylvania...... 10 Welsh Immigration to Pennsylvania . . . 10 Early Musical Activity ...... 13 Later Musical Activity ...... 19 The Welsh in O h i o ...... 34 Welsh Immigration to O h i o ...... 34 The Beginning of Musical Activity . . . 37 Competitions ...... 41 C o n c e r t s ...... 48 Musical Celebrations Honoring St. David 49 Cymanfaoedd C a n u ...... 51

II. WELSH CHORAL ACTIVITY IN WISCONSIN AND KANSAS ...... 52

The Welsh in W i s c o n s i n ...... 52 Welsh Immigration to Wisconsin .... 52 Early Musical Development ...... 55 Wisconsin Eisteddfodau after 1880 . . . 61 St. David's Celebrations ...... 65 Cymanfaoedd C a n u ...... 66 The International Eisteddfod of the World's F a i r ...... 68

iv The Welsh In Kansas ...... 74 Welsh Immigration to K a n s a s ...... 74 Early Musical Activity in Kansas . . . 76 Development of the Kansas Eisteddfod . 77 Non-Competitive Musical Events .... 84

III. CONCERT AND CONTEST M U S I C ...... 87

Music by Composers Not of Welsh H e r i t a g e ...... 87 Welsh National Music Performed in A m e r i c a ...... 90 Music by Welsh and Welsh-American Composers...... 91 Musical Preferences in Welsh-American Communities...... 92 Characteristics of the Welsh and Welsh- American Repertoire ...... 94

IV. WELSH HYMNODY IN A M E R I C A ...... 105

Hymn Collections in W a l e s ...... 105 The Tonic Sol-fa System ...... 108 Welsh Hymnals in A m e r i c a ...... Ill Hymns Sung by Welsh-Amer ic a n s ...... 121 Hymns at Cymanfaoedd Canu and Eisteddfodau ...... 126 Nineteenth-Century Welsh Hymns in the Twentieth Century ...... 128

V. WELSH IMPACT ON AMERICAN MUSICAL DEVELOPMENT 131

APPENDICES

A. Welsh Musical Events Through 1900 149

B. The Ancient Bardic Gorsedd ...... 160

C. Welsh and Welsh-American Composers ...... 163

D. Welsh and Welsh-American Musical Examples . 176

E. Welsh Hymnals in A m e r i c a ...... 236

F. Characteristics of the Twenty-six Hymns Printed Most Frequently ...... 239

SELECTED BIBLIOGRAPHY ...... 245 LIST OF FIGURES

FIGURES PAGE

1. Welsh Population Centers in Pennsylvania . . 12

2. Welsh Population Centers in Oh i o ...... 35

3. Welsh Population Centers in Wisconsin .. . 53

4. Welsh Population Centers in Kansas ...... 76

5. Incipit of the hymn tune "Bangor" in standard and Tonic Sol-fa notation ...... Ill

vi INTRODUCTION

Welsh Musical Customs and Emigration

Among the many immigrants to the United States during the nineteenth century were approximately 267,000 persons of Welsh background. Like many others they were in search of new economic and political opportunities following several years of poor harvests in Wales in the late 1790s and economic turmoil brought about by French and English conflicts.* At first, the Welsh immigrants were mostly of agricultural background, but by the later

1820s, skilled workers, particularly miners, arrived as well. Records of the United States Bureau of the Census indicate that immigration occurred in large numbers in

1860 when 45,700 Welsh arrived, and that the peak of immigration occurred during the 1890s when Welsh immigrants numbered more than 100,000.

Like other ethnic and cultural groups, the Welsh brought to the American shores a long tradition of vocal music performance. This tradition included the eisteddfod

*Edward George Hartmann, Americans from Vales (Boston: Christopher Publishing, 1967), 62; Harvard Encyclopedia of American Ethnic Groups, 1981 ed., s.v. "Welsh," by Rowland Berthoff. 2

(plural eisteddfodau), a literary and musical competition, and the gymanfa ganu (or, by mutation in the Welsh language, cymanfa canu; plural cymanfaoedd canu), a more informal gathering for the harmonized singing of church hymns. The Welsh in America also established the practice of honoring their patron saint, David, by hosting celebrations with music on St. David's Day, 1 March.*

These affairs often contained elements of both the competitive eisteddfod and sacred gymanfa ganu.

Documented information regarding the sponsorship of and participation in these Welsh events by Welsh-

Americans is available only for the period following 1850.

While it might be assumed that irregular and informal musical gatherings took place among the Welsh (a people known for their love of music) from the time of their arrival in the United States, no record of these gatherings exists. However, it is clear that after 1850,

Welsh musical activity blossomed as the Welsh-American population increased. This activity was to have a strong impact on overall American musical development. A perusal of either of the Welsh-American newspapers published today

(Nlnnau meaning "we also" and Y Drych meaning "the

*David was a Welsh monk of the sixth century. He was canonized in 1120 as the Patron Saint of Wales, and 1 March is celebrated in honor of his death on that date, ca. 589. 3 mirror") indicates that the love of and performance of vocal music remains strong and socially important.

Welsh activities and influences are part of the cultural development of America that has yet to be examined in detail. By means of an investigation of representative populations and geographical areas, this study will examine Welsh choral activities in America from about 1850 to the turn of the century from the perspectives of chronology and repertoire. It will include a survey of the repertoire of the competitive eisteddfod and of extant Welsh hymnals, and a discussion of the impact of Welsh musical events on the Welsh and non-Welsh peoples of America.

The most productive sources for this study have been accounts of Welsh choral activities from nineteenth- century newspapers, and concert and contest programs found

in various museums and libraries. Early issues of Y Dzych located at Harvard University and Utica (N.Y.) College were also helpful, as was a detailed series of scrapbooks compiled by D. E. Jones® and now held by the Lackawanna

(Pennsylvania) Historical Society. Several informative

*The Jones Musical Collection consists of ten scrapbooks and various boxes of unpublished notes and lectures by Dr. David E. Jones who was a music critic for the Sczanton Tribune. Jones attempted to collect material covering musical activities (especially of the Welsh) over the entire span of his life— 1867-1947. The scrapbooks are arranged chronologically. 4 programs and musical examples were found within the

Americana Collection of the National Library of Wales in

Aberystwyth.

The Musical Background in Wales

The eisteddfodic tradition in Wales goes back at least to the year 1176 when Lord Rhys held a competition for professional poets and musicians. Competitions evolved over the next several centuries, as did the rules for the governance of professional bards, until the 1536

Act of Unification that sought to unite the Welsh and the

English diluted several important Welsh customs, including the bardic eisteddfod.* In the following century,

Protestantism and its predilection for hymn singing slowly became entrenched in the Welsh way of life; the first

Welsh translation of the Book of Common Prayer, containing twelve English psalm tunes, was published in 1621. Music, however, remained "at a low ebb for a long time."®

The eighteenth century marked the true birth of the

Welsh musical traditions brought to America. The

Methodist Revivalists who encouraged congregational singing affected the growth of hymnody in Wales as did the

*The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Wales," by Peter Crossley-Holland.

®Ibid. 5 publication in 1744 of William Williams'* hymn book,

Aleluja [sic], designed for laymen's use. In the next century, more hymnals were published and more Welsh people learned to read music, many through the Tonic Sol-fa method introduced ca. 1862 (see chapter IV). The singing of harmonized hymns was an important part of the gymanfa ganu, which developed in the 1850s partly for the purpose of teaching hymns. These gatherings soon included the singing of oratorio choruses along with favorite hymns.^

In the meantime, a new period of eisteddfod activity in Wales was under way. Under the leadership of Tom

Jones, the Llangollen and Corwen eisteddfods of 1789 were the first to offer competitions for non-professional poets and musicians. These events apparently were held almost annually for the Welsh public. In the 1820s a category for choral groups was added to the contest docket, changing not only the emphasis of the eisteddfod but also spurring an interest in choral music composition. The first National Welsh Eisteddfod was held in I860,* and the

•Williams' Welsh bardic name is Pantecelyn or Pantycelyn.

^Crossley-Holland, "Wales"; Rhidian Griffiths, "Wales' most distinctive contribution: Origins of the Cymanfa Ganu," Yr Enfys 40 (October 1988): 13.

•Beginning about 1860, eisteddfodau in Wales were described and announced in the American publication, Y Dzych. An eisteddfod in Wales on 19 September 1863 included competition pieces by Handel and Brinley Richards, a compiler of Welsh airs. 6

National Eisteddfod Association was formed in 1880 to aid the regulation of competitive activities and the maintenance of high standards. The Welsh eisteddfodau at this time emphasized sacred music, and the repertoire included harmonized hymns, selections from cantatas and oratorios, and works in anthem-style by Welsh and Welsh-

American composers such as Joseph Parry and David

Jenkins.® These nineteenth-century eisteddfod organizers also attempted, however, to maintain a link to ancient traditions by promoting bardic penllllon singing. This style of performance involves the improvisation of four-line stanzas and descant melody to an established melody and harmony provided by a harp (see chapter II).

While twentieth-century historians of Welsh music and culture such as Margaret Jones and Dillwyn Miles have written extensively about the eisteddfod, much less emphasis has been placed on discussion of the gymanfa ganu, and St. David’s Day celebrations have been virtually ignored. Several writers imply, however, that the gymanfa

•Crossley-Holland, "Wales." The early preference for SATB works among the Welsh indicates a fundamental difference between German mânnerchôre and the popular Welsh male choruses. Germans established mânnerchôre first, adding women later as the desire increased for repertoire that required sopranos and altos. The Welsh apparently were interested in SATB singing from the beginning of their choral tradition, and established male ensembles simply as another musical outlet. See chapter III and The New Grove Dictionary of American Music, s.v. "Choral Music," by James G. Smith. 7 at least continued to be an important musical institution, especially in the more rural areas of Wales, into the twentieth century. By 1916 the gymanfa ganu was linked with the National Eisteddfod, and has since remained a part of the Eisteddfod program.

The Pattern of Welsh Immigration to the United States

Although small groups of Welsh people had made the journey across the sea to America in the seventeenth and early eighteenth centuries, the bulk of the emigration took place after 1795.** These travelers usually landed in the ports of New York City or Philadelphia.

Some made their homes in those cities, but most followed their agricultural or industrial backgrounds and sought work farther west. The mines of Pennsylvania attracted several groups of Welshmen while the promise of good land

in upstate New York (especially Oneida County) and Ohio drew others. A particularly flourishing settlement was the one in Cambria County, Pennsylvania, where the town of

Ebensburg became a center for the Welsh community.

Favorable purchase terms brought Welsh farmers to Delaware and Licking counties in Ohio in the years just prior to the War of 1812; additional settlement occurred in the

1830s in the Allen County (Ohio) area.

*®Griffiths, "Distinctive contribution," 13.

**Hartmann, Americans from Wales, 62. 8

When the next wave of immigration took place in the

1840s and 1850s, the favored destination was newly opened

territory in Wisconsin. *•* Several communities were

founded, many of them around the areas that were to

become Racine, Milwaukee, and, just to the south, Chicago.

During the 1840s and 1850s many other states, including

Iowa, Minnesota, and Utah, became home to Welsh farmers.

The latter was the destination of some Welsh converts to

the Mormon religion. The period immediately preceding and

following the Civil War marked a time of further

settlement to the west. (The westward move to Utah due to

the Mormon connection seems to be outside of the usual

immigration pattern; this is also true of the small

percentage of Welshmen who were among the gold prospectors

who reached California in mid-century.‘*) Welsh farmers made their way to Nebraska and to Kansas, where they

settled in Lyon and Osage counties. Westward movement was

completed In the 1880s as pioneer Welshmen reached Oregon.

All the while, migration to new mining towns and to

established mining centers throughout the nation

continued. Especially important were the Pennsylvania

mining communities and those found in eastern Ohio,

Virginia, and even eastern Kansas.

**Ibid., 71.

**Ibid., 74-79. 9

By 1900, the United States Bureau of the Census reported a total of 267,160 Welsh immigrants, with these residents scattered among nearly every state and large population center. The top ten states in Welsh population were: Pennsylvania, Ohio, New York, Illinois, Wisconsin,

Iowa, Utah, Kansas, Colorado, and Indiana. Of these states, Pennsylvania's Welsh population far out-numbered second-place Ohio, with 100,143 to Ohio's 35,971. The tenth state, Indiana, was home to 5,232 Welsh

Immigrants.

For the purposes of this study, four states have been selected from those mentioned above: Pennsylvania and

Ohio represent early and very large Welsh populations,*= while Wisconsin and Kansas represent smaller, more concentrated populations established during later waves of settlement to the west. These four states continue in the twentieth century to have musically active Welsh populations.

i*Ibid., 94.

*=Other large population states include New York and Illinois, which is partly studied here through the close connection between Chicago, Milwaukee, and Racine. CHAPTER I

WELSH CHORAL ACTIVITY IN PENNSYLVANIA AND OHIO

Both Pennsylvania and Ohio received large numbers of

Welsh immigrants throughout the nineteenth century, and the kinds of Welsh events held within their borders and the time frame in which they developed are similar.

Newspaper accounts provide most of the information that is available for Pennsylvania, while events in Ohio are documented mainly by many extant contest and concert programs, a disparity that allows us to view similar events from different perspectives. The information provides a nearly complete picture of musical activity among the large Welsh populations of eastern America in the nineteenth century.

The Welsh In Pennsylvania

Welsh Immigration to Pennsylvania

The first Welsh group to come to the colony of

Pennsylvania were Quakers who contracted with William Penn

for the purchase of land and set sail in 1682.* This

‘Matthew S. Magda, "The Welsh in Pennsylvania," The Peoples of Pennsylvania, no. 1 (n.p., 1986), 1. William Penn was both a Quaker and of Welsh heritage. 10 11

"Welsh Tract" (located north of Philadelphia and west of the Schuylkill River) continued to attract the Welsh, until by 1700 they (now including Baptists, Anglicans, and

Presbyterians) constituted fully one-third of

Pennsylvania's population. These early settlers tried to maintain a sense of ethnic identity through such means as the founding in 1729 of the Welsh Society of Philadelphia,

originally intended to aid immigrants upon their arrival

in the American colonies.=

The second and larger wave of Welsh immigration, which was to have an impact on musical development, began

in 1796, primarily with the settling of present-day

Cambria County in the southwestern portion of the state.

Cambria County and its community of Ebensburg (see fig. 1) were founded with the aid of Baptist minister and anti­ slavery advocate Morgan John Rees (variously spelled Rhees or Rhys) and Congregational minister Rees Lloyd.

Over the next century many Welsh, particularly those

of factory and mining backgrounds, made their way to the coal, iron, and steel areas of Pennsylvania, which offered substantially higher wages than were the norm in Wales.

The Carbondale area was settled in the 1830s, followed shortly by a large movement of Welsh to other east-central

locations such as Scranton and Wilkes-Barre. Just after

*Magda, "Welsh in Pennsylvania," 2. 12

1850/ several Welsh families moved across the mountains to the Johnstown and Pittsburgh vicinities, creating at least a scattering of Welsh throughout the state. This population was to increase greatly over the next few decades.

Carbondale *

Scranton * Wilkes-Barre *

* Pittsburgh « Ebensburg

Johnstown * Philadelphia *

Figure 1. Welsh Population Centers in Pennsylvania

The late nineteenth century saw the gradual but significant decline of Welsh immigration to the United 13

States. According to Hartmann, Pennsylvania Welsh population by 1900 can be summarized as follows:

County Major city Population

Luzerne County (Wilkes-Barre) 21,552 Lackawanna Co. (Scranton) 19,358 Allegheny Co. (Pittsburgh) 13,165 Schuylkill Co. (Pottsville) 5,280 Lawrence Co. (Newcastle) 4,240 Philadelphia Co. (Philadelphia) 2,593 Cambria Co. (Johnstown) 2,376

TOTAL WELSH IMMIGRATION 100,143=

Early Musical Activity

In recounting a history of the St. David's Society of

Wyoming Valley (Wilkes-Barre area), Kevin Flynn claims that a gymanfa ganu was held near Carbondale in 1838.*

The One Hundredth Anniversary Celebration of Welsh preaching and hymn singing in Plymouth, Pennsylvania,

(sponsored by the Plymouth Gymanfa Ganu Society) took place in April 1953.® If cymanfaoedd canu were actually held in 1838 and 1853, they would be extremely significant, for the gymanfa ganu is not generally

=Edward George Hartmann, Americans from Wales (Boston: Christopher Publishing, 1967), 95.

*Kevin F. Flynn, "History of the St. David Society of Wyoming Valley, Inc.," TMs, May 1985, Clippings file, Osterhout Free Library, Wilkes-Barre, Pennsylvania, 2. Hartmann finds this date to be very questionable.

®"100th Anniversary Celebration," Printed Program and History, Clippings file, Osterhout Free Library, Wilkes- Barre, Pennsylvania, title page. 14 considered to have existed in name until later in the nineteenth century. In fact, the term does not appear in

Welsh musical history until mid-century, when the Reverend

John Roberts (leuan Gwyllt) is credited with conducting such a hymn festival in Aberdare in 1859. It is likely that the citations simply refer to religious gatherings where hymn singing was part of the program, but not the main activity done primarily as a means of teaching new hymns (one of the original purposes of the gymanfa ganu movement in Wales).* Few other references are made to early cymanfaoedd canu in Pennsylvania, but the competitive eisteddfod caught the interest of these

Welsh-Americans and the attention of newspaper reporters throughout the last half of the nineteenth century.

An effort to pinpoint the date of the first eisteddfod in Pennsylvania poses problems. Several authors have stated that the first was held on Christmas

Day 1850, but disagree as to whether it was held in

Carbondale or Pittston (near Wilkes-Barre). Current research has provided no verification of that date for either location. The possibility exists that an exact date was accidentally fabricated out of a traditional

*Rhidian Griffiths, "Wales' most distinctive contribution: Origins of the Cymanfa Ganu," Yz Bnfys 40 (October 1988): 13. The Welsh National Gymanfa Ganu Association, Inc. of the United States was not formed until 1929. 15 date was accidentally fabricated out of a traditional understanding that the first eisteddfod was held on Christmas Day in the 1850s. The Utica (N.Y.) Morning

Herald reported that "the first American eisteddfod worthy of the name was held in Carbondale, Pennsylvania, in 1851 and B. F. Lewis of Utica won a prize at the second

Carbondale eisteddfod in 1852."^ According to the

Carbondale Transcript, on Monday, 26 December 1853 the

Cambrian Literary Society of Carbondale held its "second anniversary" meeting. There were essays, lectures, and music, and in the evening there was a competition.*

Less certainty surrounds the first event in Pittston.

It is known that the Cymraeg (Welsh) Literary Society of

Pittston was formed in December 1854, and that this society held competitions in declamation, singing, and reading at least as early as December 1855.* Other early eisteddfodau were held in Ebensburg in 1855 (it was called the "second anniversary"); in Carbondale in 1854; and in

Scranton in July 1854.“ *

■^"Utica Eisteddfod," Utica Morning Herald, 3 January 1893.

^Carbondale Transcript, 30 December 1853.

"^Pittston Gazette, 7 December 1855.

***Ebensburg Democrat, 26 December 1855; Carbondale Transcript, 22 December 1854; "The Welsh in Luzerne County, Pennsylvania," TMs, Lackawanna Historical Society, Scranton, Pennsylvania. The first eisteddfod in Utica, New York, was held on 1 January 1856. Eisteddfodau were sponsored there annually until 1862, revived in 1867, and 16

Little is known about the repertoire and competition procedures for these early events. The 1853 eisteddfod in

Carbondale drew favorable remarks from a local journalist who claimed there was "much to commend in the degree of proficiency attained" (presumably among the contestants and performers).** The proceeds from this event are said to have been used to establish a library. The titles for two required competition pieces were provided the following year: "Mortals Awake" and "Grave of Bonaparte" were sung by all participating choirs.** The reporter made special note that events held in the afternoon session of that Christmas festival would be conducted in

English, implying that at other times Welsh would be held annually again at least until 1900 when the forty- second event was scheduled. The first eisteddfod held in Utah was an informal contest mainly for children on 1 March 1852 in the home of Daniel Daniels. See Henry Blackwell, A Bibliography of Welsh Americana, 2nd ed. (Aberystwyth: National Library of Wales, 1977), 25; Kate B. Carter, comp., "The Welsh in Utah," Pamphlet published by the Daughters of Utah Pioneers, Balch Institute, Philadelphia, Pennsylvania.

**Carbondale Transcript, 30 December 1853.

**carbondale Transcript, 22 December 1854. The titles of contest and concert music will be presented just as they are in research sources, and the names of composers will be provided only if they were also given in source material. 17 heard. The admission for an audience member was twenty- five cents. In 1855 the contest piece for choirs was "the first part of the oratorio Daniel.” The successful choir took home a prize of $12.**

Later Musical Activity

Eisteddfodau were held only sporadically in

Pennsylvania until the late 1860s, after which they became quite regular or at least more newsworthy. Beginning in

1867 and continuing to the end of the century, eisteddfodau were held annually in one or more

Pennsylvania towns. In December 1867 a two-day eisteddfod was held in the Hyde Park area of Scranton. Dr. Joseph

Parry, a Welsh-Amerlean composer (see appendix C), wrote his "Ar Con O Flaen Gwyntoedd" ("The Wave Before the

Wind") for the occasion. Choirs entered in the event were from the surrounding area, and included the Cambro-

Americans, the Hyde Park Choral Union, the Providence

Choir, the Olyphant Choir, and the Pittston Choir.**

It appears that any holiday during the year was an

**Carbondale Transcript, 14 December 1855. There is an oratorio by the American composer G. P. Bristow titled Danielf but is was not completed until 1866.

**1867 Scrapbook, Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania. The Scranton Liederkranz was founded in 1869 and was the earliest official singing society among the Germans of Scranton. It was involved in competitions as late as 1898 in Wilkes-Barre. 18

appropriate time for an eisteddfod. This is shown by the

days of performances in several Pennsylvania towns: the

favored day in Pittston was either 31 December or 1

January in the late 1860s and early 1870s; the 1885 eisteddfod in Hyde Park was held on St. Patrick's Day

(March 17); eisteddfodau were held in Avoca (near Wilkes-

Barre) on Washington's Birthday after 1891; and the

Cambro-American Society of Pittston selected Memorial Day weekend for its competitions in the 1890s. The popularity

of Christmas Day has already been noted.

New Year's Day 1868 marks the first eisteddfod on record in the community of Wilkes-Barre.*® This event attracted an audience of approximately fifteen hundred.

The adjudicators for the competition were composer Joseph

Parry of Danville, Pennsylvania, and Professor

L. Praetorlus of Wilkes-Barre. The predilection for selections from the works of Handel and other standard oratorios is obvious. The program included the joint singing of the Welsh National Anthem, "Hen Wlad Fy Nhadau"

("Land of My Fathers"); the bass solo "The Trumpet Shall

Sound" (for which the winner took home $3); the tenor solo

"Thou Shalt Break Them"; and the chorus "Oh Father, Whose

Almighty Power" from Judas Maccabeus (which brought the

*®Edward Phillips, "History of Wilkes-Barre, Luzerne County, Pennsylvania," vol. 2, part 2, TMs, Wyoming Valley Historical Society, Wilkes-Barre, Pennsylvania, 648. 19 successful choir $15). "And the Glory of the Lord" by

Handel was the Grand Choir test piece, bringing honor to the triumphant Pittston choir. From two to six contestants were entered in each of these categories of competition; both the categories and number of contestants were standard for most eisteddfodau of the day.

In addition to the usual divisions of competition such as glee, chorus, solo, duet, and trio, the Hyde Park eisteddfod of March 1877 also offered a match in the area of "singing music on sight.The prize was withheld, however, "none of the parties being up to the standard."

The Grand Chorus selections for this meeting were

"Teyrnasoedd y Ddaear" [by J. A. Lloyd 1 and "Worthy Is the

Lamb." Sessions were held at 10 A.M., 2 P.M., and 6:30

P.M.

The two-day Scranton Eisteddfod of 1875 was conducted in a large tent put up at the corner of Price Street and

Sumner Avenue,a facility chosen for its capacity to hold hundreds of spectators brought in by train from the surrounding countryside. This competition is significant for its emphasis on instrumental music and composition.

**1877 Scrapbook, Jones Collection.

‘^Frederick L. Hitchcock, Hlstozy of Scranton, Pennsylvania (New York: Lewis Historical Publishing, 1914), 1:468. 20

Contests for brass bands and for pianists were scheduled, and Professor D. J. J. Mason and Gwilym Gwent (William

Williams) (see appendix C) were acknowledged for glee compositions they had submitted. The adjudicator for the composition section was Welsh-Amerlean composer J. W.

Parson Price.

Point systems were apparently used by the adjudicators (at least by the end of the century) to select winners. At an eisteddfod in Scranton in 1897, a maximum of ten points could be awarded in each of the following areas: quality of voice, reading, intonation, and general effect; fifteen points each were possible for both style and expression. In the baritone solo competition, on "The Raft" by Pinsuti, John w. Jones was awarded the prize of $6 for scoring sixty-seven of the seventy points possible. (His closest competitor had earned sixty-six points.)*" Another contest held near the end of the century rated voice quality, reading and enunciation, phrasing, intonation, style, conception, expression, and tempo in selecting winners.

Adjudicators at the Scranton Eisteddfod of 1875 had some trouble selecting a winner in the choir category from among the five challengers. Three choirs were asked to sing "Rise Up, Arise" from St. Paul a second time. The

*""A Day of Sweet Song," The Scranton Republican, 12 May 189 7. 21

Cambro-Amerleans from Scranton under the direction of

Robert J. James took home the victors' spoils: $200 and a gold medal. James was later awarded a gold watch and a silver-mounted baton by members of his ensemble for his leadership.

The decisions of eisteddfod adjudicators did not always receive favorable responses from local participants. Following the December 1872 eisteddfod held

in Plymouth (a suburb of Wilkes-Barre), Pennsylvania,

judge W. Apinadoc [sic: Ap Madocl (see appendix C) wrote a letter of rebuttal that not only reports a disagreement but also gives insight into one of the things for which adjudicators were listening:

It is fair that you should allow me to make a few remarks upon the correspondence . . . condemning my adjudication upon the singing of the "Ebenezer Choir" at the . . . eisteddfod. I am accused of deciding "against them solely on the grounds of improper pronunciation of the English words . . . las being) too Welshified." I give that a flat denial. The glee is a welsh [sic] composition. What "English words" could your correspondent or anybody else, find in Welsh singing? . . . I had cause twice to make remarks upon improper pro­ nunciation, in the singing of an English solo and duett [sic] but I am not guilty of denouncing anything in said Eisteddfod, as being "too Welshified."*®

The adjudicators apparently did not have control over the selection of contest pieces. This caused an

*•1875 Scrapbook, Jones Collection.

*<>1873 Scrapbook, Jones Collection. 22

Interesting situation at the Scranton eisteddfod of 1875 discussed above: in the male chorus category, the piece

"The Hostess Daughter" by Smart was pronounced too difficult to be sung satisfactorily by any of the rival ensembles. The judges voted to offer the prize money of

$50 to the Plymouth Glee Club but withheld the awarding of the attendant medal, considering it "a mark of merit not earned."**

References to Welsh-Amerlean composers in the roles of adjudicators are not uncommon, but more interesting is the use of famous musicians not of Welsh descent. This was the case at the Hyde Park eisteddfod of June 1880, where

Dudley Buck joined J. W. Parson Price as judge, and at the

Scranton eisteddfod of 1902, which featured Walter

Damrosch as music adjudicator.**

According to a newpaper announcement of 1877, two eisteddfodau were held in the Scranton area "for the purpose of filling otherwise unemployed time," for "the

Welsh miners do not enjoy idleness, and turn its hours to self-improvement and the general edification." These contests were not held on holidays but on Wednesday, 30

August and Wednesday, 12 September. The unemployment

**1875 Scrapbook, Jones Collection.

**1880 Scrapbook, Jones Collection; Margery Morgan Lowens, "Welsh Musical Traditions of Northeast Pennsylvania," TMs, Lowens* possession, Baltimore, MD. 23 likely resulted from the mass work stoppage in the railroad industry of the United States that had begun earlier in the summer of 1877; the miners were quickly affected.

The following comments from the Philadelphia Ledger of 28 November 1879 (reprinted in the New York Times of 1

December 1879) offer insight into the membership of the choirs, and the importance of music in the life of the

Welsh:

The bone and sinew of the assemblage were the coal- region miners and workmen. These, with their city compatriots, have preserved . . . the language of their native land, and have cultivated not only a love for music, but the science of it, to a degree that enables them to present grand choruses with wonderful precision and effect . . . The singers were nearly all miners . . . Such results could not be reached if the Welshmen of Pennsylvania had not maintained a national love of music or something more than a sentiment . . . The music is so thoroughly studied by all the singers that they can unite together without rehearsal and sing with even better effect than many well-drilled choruses composed of less skilled vocalists.

The Hyde Park (Scranton), Pennsylvania choir found itself in an uncomfortable situation when, in December

1881, it competed against a choir from New York consisting of "thoroughly trained and we11-developed" vocalists led by a "composer of note" (J. W. Parson Price). The one hundred-voice Hyde Park choir consisted of "workingmen, their wives, daughters, and sons . . . under the guidance 24 of a miner."** The test piece was again "Rise Up, Arise" from Mendelssohn's St. Paul. Judges Henry Camp of the

Plymouth Church, music critic J. H. Cornell, and composer

Gwilym Williams (Gwilym Gwent or William Williams) elected to divide the award between the choirs. Their decision was based on the fact that th* New York choir had presented a "more refined rendering" but had also sung G sharp in place of B flat in one instance.

The quotation above from the Philadelphia Ledger draws attention to the continued use of Welsh as well as

English at eisteddfodau. A comment in the Cambrian

Freeman (Ebensburg) of 19 December 1879 indicates that this issue was of concern to readers— perhaps non-Welsh-speakers in particular. The journalist announces that the Sons of Comer*"* will hold an eisteddfod, "if you know what that is," on Christmas day and evening. He says that most of the singing will be in

English. But an announcement of an eisteddfod to be held on the east side of the state in November 1885 informs singers that the choice of English or Welsh is at their discretion.

The size of individual choirs in the 1880s varied according to the size of the community sponsoring the

**The Scranton Republican, 27 December 1881.

*“*The Welsh believe they are descendants of Corner, one of the sons of Noah. 25 ensemble. The Pittsburgh Eisteddfod of December 1887 brought together the 175 singers of the Cymrodorian Choral

Society of Scranton directed by composer Daniel Protheroe

(see appendix C); the 80 singers of the Newburgh choir of

Cleveland (Ohio); 83 singers from Johnstown; the 279 members of a joint choir from Youngstown (Ohio); and a

193-voice ensemble from Pittsburgh. The Pittsburgh choir won the $500 purse for its performance of "Arise All Ye

Nations" and "Thanks Be to God."“®

The Philadelphia eisteddfod of November 1879 provides a clear indication of how large some contests had become.

It is reported that this two-day affair featured a choir of twelve hundred voices at the closing concert, in which

"The Ash Grove," arranged by Welsh composer John Thomas;

"The Wave Before the Storm" by Dr. Parry; and the ubiquitous "Land of My Fathers" were sung.** Singers from the Pennsylvania counties of Schuylkill, Lackawanna,

Carbon, Luzerne, and Northumberland participated, and an audience estimated at twelve thousand attended. The test pieces included "The Summer" and "Worthy is the Lamb."

Ensembles large and small were often formed for the

**1887 Scrapbook, Jones Collection. The St. David's Society of Pittsburgh earned $3,500 for their organization and promotion of the entire event.

**New York Times, 27 November 1879. 26 purpose of competition. The Cymrodorian ensemble from

Scranton mentioned above was established for the dual purposes of entering eisteddfodau and presenting oratorios. The community of Hyde Park began a choral society to perform at the Wilkes-Barre eisteddfod on St.

Patrick’s Day 1894.

The presentation of full oratorios in a concert setting was also common among Welsh choirs. On 15 October

1889, the Welsh Baptist Choir of Scranton, assisted by

"well-known artists" in the solo, accompanist, and director roles, performed Handel's Judas Maccabeus. The

Cymrodorion group under the direction of Daniel

Protheroe presented Handel’s Samson in the late 1880s, and

Rossini's Stabat Mater in 1890.*'^

The Pennsylvania Welsh choirs' reputation for fine musical performance was reported to readers of the New

York Times in 1882. H. A. Clarke wrote that choirs had been formed to study the choruses of the great masters—

Handel, Bach, Haydn, and Mendelssohn. He was impressed with the knowledge of the choir members, most of them miners and their families:

these people . . . have reached a pitch of excellence in their performance that must not fear to stand comparison with that of the best societies in the largest of our cities who are furnished with every

E. Jones, "Music in Lackawanna County," in History of Lackawanna County, Pennsylvania (Topeka: Historical Publishing, 1928), 338. 27

means and opportunity for the study of oratorios under the guidance of the best musicians in the land.

He claimed further that the choirs had few collective rehearsals and often sang unaccompanied in rehearsal and performance. His only criticism was quality of tone, which he thought tended to be nasal.**

By the next decade, the habit of sponsoring eisteddfodau was not entirely confined to the Welsh musicians of Pennsylvania. On 28 October 1891, the

Catholic Choir Association of Scranton sponsored a singing competition where more than $1000 in prize money was awarded. This event featured eighteen church choirs, twenty-five singing societies, and sixty-five soloists.**

The Cambro-American Society of Wilkes-Barre responded by inviting local Catholic choirs to enter the Wilkes-Barre

Eisteddfod scheduled for 17 March 1892.

March 1892 also marked the beginning of extensive discussion about the World's Fair Eisteddfod slated for

September 1893 in Chicago. The first proposal was that one large choir from the Scranton/Wilkes-Barre area be formed to join the competition. However, disagreement soon arose over the selection of a conductor. One faction wanted to secure the services of a leader from New York, while others found this idea insulting. Hearty community

New York Times, 16 November 1882.

Jones, "Music in Lackawanna County," 340. 28 pride prompted much argument over and discussion concerning almost every aspect of the venture. The newspapers were full of conflicting announcements, the editors apparently viewing this debate as worthy of considerable space and ink. In the end, a Scranton Choral

Union under the direction of Hayden Evans, and the

Cymrodorians of Wilkes-Barre led by Daniel Protheroe, both entered the contest.*® (This four-day eisteddfod drawing singers from around the nation is discussed further in chapter II.)

Despite this inclination towards large groups and events, smaller communities continued to host eisteddfodau for their own residents. For example, the First Welsh

Baptist Church of Providence (Scranton) held a competition on St. Patrick's Day 1898, with two sessions, one at 2

P.M. and the other at 7 P.M. The musical categories, contest pieces, and prizes were:

1. Choir not less than 20 in number; "May Day" by Fuller; $20 2. Choir for children under 15 years of age; "Come"; $10 3. Bass; "Arise All Ye Nations"; $1

*®1892 Scrapbook, Jones Collection. The Scranton Choral Union won the mixed choir prize of $5,000. The Cymrodorians raised money for the expense of the trip by selling one dollar "subscription certificates" for reserved seats to the concert given by the group upon their return from Chicago. Purchasers would also receive a souvenir booklet about the organization. It was predicted that "thousands of dollars" would be raised in this manner: "Cymrodorian Finances," The Scranton Republican, 13 June 1893. 29

4. Trio; "Arise All Ye Nations" (sic]; $1.50 5. Tenor; "Plas Gogerddan" from Songs of Wales; SI 6. Soprano;"Dyffryn clwyd" from Songs of Wales; $1 7. Solo for girls under 15 years of age; "Where Is My Boy Tonight"; 50 cents 8. Solo for boys; "Have Courage, My Boy, to Say No"; 50 cents 9. Duet; "All's Well"; $1.50 10. For males over 50 years of age; "Dora" from Cor dzysor y Bedyddwyz [Baptist hymnal]; 75 cents™!

As the list shows, both Welsh and English songs were included, hymns were used as contest pieces, and there were special divisions for youth and the elderly.

Non-musical categories included speech-making (prepared and impromptu), recitation, and the writing of a love letter ( ! ).

At the century's end, the eisteddfod remained alive and well in Pennsylvania. A number of the events were being held on a smaller scale at the same time the interest in large contests was on the rise. Records

Indicate that in 1891 at least ten eisteddfodau were held in Pennsylvania. And from 1892 to about 1898, there continued to be multiple events somewhere within the state each year (see appendix A).

Political, social, and economic situations naturally had an impact on the musical endeavors of the Welsh in

America. However, in the last decade of the century.

* ‘1898 Scrapbook, Jones Collection. The Songs of Wales collection could be the one by Brinley Richards or the one by John Thomas (see chapter III). 30 eisteddfodic activity continued with (seemingly) only minor interruptions caused by the mining strikes that plagued Pennsylvania between 1894 and 1897, or by the

Spanish/American War from April through December 1898. In

1898, a newspaper reporter remarked that, despite the war, an eisteddfod was scheduled for Wilkes-BarreA contest at Hyde Park (Scranton) in 1898 also received special attention in the press because of the "awakened enthusiasm among the singers who during the past few years have not taken an active part in such vocal competition owing to the absence of eisteddfodau."** The writer might have been referring to a lack of large eisteddfodau since it does not appear that total abandonment of the activity occurred. Even during the year of the war, at least a dozen competitions were planned— many of them (as noted above) associated with a particular church or small area of the city, i.e. "the Congregational Church Eisteddfod" or "the west side eisteddfod." The Jackson Street Baptist

Church in Scranton was just beginning an eisteddfod tradition. They were scheduled to hold their second annual contest in March 1899. It was designed to be "a rather private affair [with] only members and friends present . . . for friendly competition."**

**1898 Scrapbook, Jones Collection.

**1898 Scrapbook, Jones Collection.

**1899 Scrapbook, Jones Collection. 31

In contrast, an eisteddfod held in Wilkes-Barre in

November 1899 drew an audience of about one thousand; and in May 1902 a huge eisteddfod held in Scranton attracted an audience of nearly fourteen thousand. A "Grand

Eisteddfod," held in Bangor, Pennsylvania, in October of that same year, included thirteen music competition categories; and a "National Eisteddfod" was held in

Pittsburgh on Memorial Day the following year. In 1913, the City of Pittsburgh played host to an International

Eisteddfod held July 2 through 5 (for which a full description has been written by Janice J. Miller for the

Pennsylvania Ethnic Heritage Studies Center at the

University of Pittsburgh). Further research may eventually chronical the strength of this activity in the twentieth century. In the 1980s, very few eisteddfod traditions remain, having been supplanted by a stronger interest in cymanfaoedd canu and St. David's Day celebrations

Concert presentations of oratorios continued to be popular among Welsh choirs in the final years of the nineteenth century. Elijah and Messiah were presented

*®Hartmann mentions some of the eisteddfodic traditions that continued in Pennsylvania in the twentieth century: Americans from Wales, 155. The Dr. Edwards Memorial Congregational Church of Edwardsville, Pennsylvania, had its One Hundredth Anniversary Eisteddfod on 22 April 1989. 32

by the Oratorio Society of Wilkes-Barre in 1894. This

same organization sponsored an oratorio festival during

the summer of 1895, offering competition on individual

selections intermingled with performances of The Seasons by Handel [sic] and the premiere of the opera Catrln, the

Maid of Cevnydva by D. J. J. Mason and [William] Ap Madoc

(see appendix C).**

Nineteenth-century evidence of interest in St.

David's Day programs is found in the concert (without competition) held in March 1894 in Scranton, in the annual celebrations of the Wyoming Valley St. David's Society

(founded in 1879), in the Scranton celebration of 1880, and in the account of the program given in Ebensburg in

1900. The latter gathering included the joint singing of the Welsh National Anthem and "My Country 'Tis of Thee,"

in addition to two unnamed solos and a male quartet performance of "Freedom." Some St. David's celebrations near the end of the century contained the competition element of an eisteddfod. The Scranton Republican of 2

March 1889 provides a description of the 2 P.M. contest, the evening concert, and the banquet at 9:20 P.M. held by the Cymrodorians the day before.

St. David's societies also hosted musical and social events at other times of the year that tended to include

"Phillips, "History of Wilkes-Barre," 659. 33 more solo vocal repertoire and instrumental music than is associated with the eisteddfod. For whatever reason, these concerts did not receive much attention in the press.

Even less information exists regarding cymanfaoedd canu in Pennsylvania over the entire century. An article from the Wilkes-Barre Record of 5 June 1944 refers to an early gymanfa ganu held in the area, but, unfortunately, no details are provided about this September 1878 songfest held in what was later to be called the Dr. Edwards

Memorial Church.*^

Cymanfaoedd canu are known to have been held in late

August 1883 during a joint Minersville and Pottsville preaching festival, and at the Welsh Congregational Church of Scranton in May 1900. A hymnal pamphlet from the 1883 meeting is held by the Lackawanna Historical Society and lists seventeen hymn texts to be sung to tunes indicated by title (see chapter IV). It seems likely that other hymn-singing affairs were held informally without mention in the press and without printed programs that might survive in museums and collections nearly a century later.

“^Reverend T. C. Edwards, D.D., began his work in Edwardsville in 1878; the gymanfa ganu might have been a part of his welcome celebration. The church was named for him upon his death in 1927. See David Greenslade, Welsh Fever (Cowbridge, Wales: Brown and Sons, 1986), 136. 34

The Welsh in Ohio

Welsh Immigration to Ohio

The beginnings of Welsh activities in Ohio roughly correspond with the beginnings of statehood for the region

(1803). The first Welsh settlement in Ohio was at Paddy's

Run, now called Shandon, located in the southwest corner

of the state. Welshmen Edward Bebb and Ezekiel Hughes

left Llanbrymair, Montgomeryshire, North Wales, in 1795 to

come to America.** Following the immigration patterns

usual in the first two decades of the nineteenth century,

they landed in Philadelphia, made their way across

Pennsylvania, and moved on toward Cincinnati (Port

Washington) by way of the Ohio River (see fig. 2). Welsh

immigrants who chose essentially the same route across

Pennsylvania but continued directly west into Ohio

(instead of taking the river to the southwest) found

fertile soil in Licking County, and created the Welsh

Hills (northeast of Columbus) settlement in 1802.

Within a few years of the War of 1812, Welsh

immigrants were shortening their boatride along the Ohio

by establishing residence in Jackson and Gallia counties

located in the southeast corner of the state. This area

drew a number of homesteaders, so that by the year 1850

**Stephen Riggs Williams, The Saga of the Paddy's Run (Athens, Ohio: Miami University Press, 1945), 18. 35

Jackson County contained 1,048 Welsh immigrants while

Gallia County was home to 511. In the 1850s, mining and work with iron ore brought renewed Welsh interest in the

Jackson-Gallia area.**

Youngstown *

Delphos * * Corner Venedocia * * Lima

* Columbus

* Shandon * Cincinnati * Jackson

Figure 2. Welsh Population Centers in Ohio

"Hartmann, Americans from Wales, 67 and 80. 36

A third area favored by the Welsh was Corner in Allen

County; in 1833 a group from Paddy's Run made the 130-mile trek north to this site.** The city of Lima, also in

Allen County, was surveyed and named in 1831, not long before the peak years of Welsh immigration to the county from 1849 to 1858. At one point during these years, 24.4 percent of all the immigrants to the region were from the United Kingdom, and of that number, 43.5 percent were from Wales.**

Fifteen years after the founding of Comer, the community of Venedocia, just to the west in Van Wert

County, was settled. Other towns in the region, such as

Delphos and Radnor, also boasted of Welsh population; some of the pioneers reached the area by way of the Miami and

Erie Canal.

While people in the areas mentioned above came mainly from agricultural backgrounds, the Mahoning County area in northeast Ohio drew miners to rich coal deposits. The county was organized in 1846 but had already begun to receive large numbers of Welsh in the 1830s.*® The Welsh were also to play an important role in the development of

**Williams, Saga, 49.

**Naturalizations of Aliens in Allen County, Ohio, Chart, Elizabeth M. MacDonnell Memorial Library, Allen County Historical Society, Lima, Ohio.

*®Howard C. Aley, A Heritage to Shaze (Youngstown: Bicentennial Commission, 1975), 45. 37 the chief population center of Mahoning County,

Youngstown.

Large numbers of Welsh continued to arrive in Ohio after these initial settlements, and played a vital role in the musical development and traditions of the Welsh in

Ohio. By 1900, the Welsh population of the original settlements was surpassed by additional Welshmen who settled in many areas of Ohio:

County Major city Population

Mahoning County (Youngstown) 4,997 Cuyahoga Co. (Cleveland) 4,792 Trumbull Co. (Warren) 3,625 Franklin Co. (Columbus) 1,957 Stark Co. (Canton) 1,797 Hamilton Co. (Cincinnati) 883 Licking Co. (Welsh Hills) 684 Van Wert Co. (Venedocia) 683 Allen Co. (Lima) 675

TOTAL WELSH IMMIGRATION 35,971*=

The Beginning of Musical Activities

Unlike Pennsylvania, early Welsh settlements in Ohio spread over the entire state. An early interest in a wider variety of Welsh musical activities is evident, and there are more references available that include the exact dates of musical events.

■Hartmann, Americans from Wales, 95, 38

The gymanfa ganu seems to have become more popular

(or at least more documented) in these early years in Ohio than in Pennsylvania. A four-day gymanfa was held in 1861

in Moriah (a church settlement near Oak Hill). In this case, the "gymanfa" was probably a convention for a series of "preaching meetings" (another meaning of the Welsh word) but the record also mentions hymn singing at the event. According to author Daniel Jenkins Williams,

"thousands" of singers participatedA gymanfa ganu was also held in Gomer, Ohio, in I860,** and a song "festival" was held in a church in Soar (also near Oak Hill) in March

1863. Members of Welsh churches in Oak Hill, Bethel, and

Horab joined with the parishioners from Soar. These dates, if accurate, indicate that the gymanfa ganu was developing in the United States and Wales concurrently.**

**Daniel Jenkins Williams, One Hundred Years of Welsh Calvinistlc Methodism in America (Philadelphia: Westminster Press, 1937), 139.

**"The Eisteddfod and Gymanfa Ganu," The Allen County Reporter 39, no. 3 (1983): 29. The writer does not indicate his source for this information. The gymanfa tradition continues in Gomer in the 1980s.

**If one of the original intents of the cymanfaoedd canu movement in Wales was to teach congregations to sing hymns more satisfactorily, these meetings were needed in America. A report on the preaching gymanfas held in Ohio after 1840 for surrounding Congregational churches describes the interspersed hymn singing as less than beautiful. Books were apparently scarce and few people remembered the tunes. The lining out technique was used by a song leader, sometimes with better results than at other times. (From "The Gymanfa Speaks," TMs read to the Radnor Historical Society by Mary Price in November 1939 based on a report from the Gymanfa secretary John E. Jones 39

Yet the bulk of early Welsh musical activity in Ohio about which there exists precise records centers around the eisteddfod.

Eisteddfodau were introduced in Ohio in the Youngstown area in 1860.*^ For the first such affair the Reverend

John Morgan Thomas served as musical adjudicator, and

J. W. Jones, editor of Y Dzych, was conductor. A three-year lapse occurred before the next Youngstown eisteddfod, at which "Arise Ye Nations" was the required test piece for choirs, was held in July 1863.

An eisteddfod held in Youngstown on Christmas 1865

(which was to have a profound effect on the life of the young composer Joseph Parry; see appendix C) was the first contest in the United States to include a Gorsedd, an ancient Druidic rite reintroduced in Wales in 1792 to mark great musical and literary individuals as Bards for their service to the Welsh nation and culture.*" written 18 May 1871, held by Mrs. Ann (Charles) Humphries, Delaware, Ohio.) See also chapter IV for more comments on unison and harmonized singing.

*^Aley, A Heritage to Share, 46.

Youngstown Pioneer Welsh Fostered Church Eisteddfod" Photocopy from Youngstown Vindicator 17 May 1925, Welsh File, Youngstown Public Library, Youngstown, Ohio. The pageant associated with the Gorsedd is still a unique part of the modern eisteddfod in Wales. Other Bardic Gorsedds held in the United States included the ceremony in conjunction with the Ohio State Eisteddfod in 1885, and the Gorsedd of the World's Fair Eisteddfod in 40

The early activity in Youngstown described above was substantial, considering that these events were held during the years of the Civil War. Other Ohio cities lagged behind in sponsoring their first eisteddfodau:

Cincinnati in 1872; Columbus, Oak Hill, and Gomer/Delphos

In 1875; and Jackson in 1877.** The Columbus contest was held during the Christmas season, and Professor William Ap

Madoc from Utica, New York, (later of Chicago) led the singing and did a demonstration of penillion singing. This is one of the few references to this ancient tradition that has been found among American sources (see

Introduction). The only competition repertoire mentioned was "The Swan" for choruses, and an unnamed

"congregational tune."®*

Chicago in 1893. For more information see chapter II and appendix B, and Hartmann, Americans from Wales, 142. The Gorsedd tradition has not been strong in America.

**Romaine Aten Jones Scrapbook, Microfiche, vol. 3, fiche 9, Public Library, Jackson, Ohio; Mitchell Homer, "The Eisteddfod in Ohio" (M.A. thesis. The Ohio State University, 1934), 17; George S. Marshall, History of Music in Columbus, Ohio (Columbus: Franklin County Historical Society, 1956), 26.

®*AIlen County Democrat, 30 December 1875. 41

The 1860s also brought an interest in the celebration of St. David's Day. The first Ohio festival to honor the patron saint was held in Cincinnati in 1866 under the sponsorship of the Welsh Congregational

Church.=1

Competitions

As in Pennsylvania, any holiday or Sunday (but especially those in December, March, January, October, and

July) was acceptable for holding an eisteddfod. December and January, of course, were the time of Christmas celebrations and some freedom from the workplace. March contains St. David's Day and St. Patrick's Day, both common eisteddfod days in Pennsylvania. Special occasions sometimes provided themes for eisteddfodau; the Centennial of the United States was emphasized at the Christmas competition of 1876 in Cincinnati.==

When seeking adjudicators for local Ohio eisteddfodau, organizers favored several of the Welsh-

®*The Saga of the Welsh Congregational Church, Lawrence Street, Cincinnati, Ohio, 1840-1952 (Cincinnati: n.p., 1952). Singing societies sponsored by persons of German heritage were also in existence in Ohio by the end of the 1860s. The German Sângerbund was founded in Cincinnati in 1849, and a German Singing Society was active in Lima by 1868.

“ The Marietta and Cincinnati Railroad offered a special round trip excursion fare of $3 for passengers travelling from Oak Hill and Jackson to Cincinnati. 42

American composers mentioned in the discussion of

Pennsylvania. J. W. Parson Price of New York City served at the Lima Eisteddfod of 1 January 1884 and Daniel

Protheroe, then of Milwaukee, handled the task in Corner on

30 October 1895. It was reported that more than three thousand people attended that event, at which Protheroe's

"0 Come Let Us Sing” and Mendelssohn's ”0 Great Is the

Depth" were used as the Grand Chorus pieces.®* Other

Welsh and Welsh-American composers represented by contest pieces included D. E. Evans, Joseph Parry, T. J. Davies, and Gwilym Gwent (see appendix C).

The adjudicator at the Gomer eisteddfod in 1877 was as attentive to details throughout the competition as were the adjudicators at the Pennsylvania eisteddfodau already cited. The deciding factor in selecting the winner in the

Glee Division in Gomer was the matter of a repeat sign.

Delphos won because "Gomer failed to repeat the last movement."®"* The choral division test on "All We Like

Sheep" brought victory to Gomer, however, because the chorus "was excellently rendered . . . slurs were brilliantly performed and voices well balanced."

The availability of many programs from nineteenth-

®*Early Gomer Community Scrapbook, Gomer United Church of Christ Library, Gomer, Ohio.

Allen County Democzat, 1 November 1877. 43 century eisteddfodau in Ohio provides some insight into the kind of accompaniment available at the competitions.

A piano accompanist, usually a woman, is often given significant credit in program listings, her name preceded only by those of the eisteddfod president and judges.

Since no references to accompanying orchestras or ensembles have been found, it is likely that oratorio selections were performed with piano reductions or unaccompanied.

These printed programs also indicate more clearly than newspaper accounts that some non-musical and non-literary competitions had become a part of eisteddfodau. For example. Eisteddfod Gomer of 25 October 1877 held a contest in the raising and displaying of house plants, and adjudication on the "drawing of a team of horses hitched to a log wagon" was a part of the 1891 Venedocia eisteddfod.

Normally, however, the competition categories were the same as those listed in the discussion of contests in

Pennsylvania: vocal solos, small ensembles, and large ensembles. There continued to be occasional contests in other musical categories: "writing music from hearing"

(Delphos, 1894), "impromptu singing" (Gomer, 1877), composition (Cincinnati, 1876), and singing for older participants (Cincinnati, 1876). The elderly were 44

frequently given the privilege of selecting their own test

music.

The Welsh of Ohio continued to use both Welsh and

English at eisteddfodau throughout the forty-year time

span under discussion. The public was Invited to hear songs in both languages at a concert held in the Jackson

Baptist Church on Christmas Day 1873.®® The 1877 eisteddfod in Gomer provided interesting information about

language: an announcement flyer (one of the few in existence) was written half in Welsh and half in English; most of the Welsh pertained to the literary portions of the competition. In contrast, the program distributed on the day of the competition was completely in English. The prizes for the day ranged from fifty cents for the reading competition to thirty dollars for chorus singing. (The designated selection in Welsh to English translation competition was an excerpt from the introduction to leuan

Gwyllt's hymnal Llyfz Tonau, discussed in chapter IV.)

Bilingual programs were still in use near the end of the century, as the Venedocia program from 22

January 1891 shows. Male choruses at the Ada eisteddfod held in 1898 were given the choice of singing "Listen,

Lovely Maiden," by D. 0. Evans, in Welsh, English, or

*Jackson Standard, 11 December 1873. 45

German. Mixed choruses entered in this same affair were required to sing in German "Die Himmel Erzahlen die Ehre

Gottes" by Haydn.®* The presence of German language pieces suggests two things: that there must have been a large number of German-speaking residents in Ada, and that the Welsh population there was not large enough to support the eisteddfod without the help of other groups.

Even though Individual cities added their own flavor to competitions under their jurisdiction, eisteddfodau in

Ohio gradually became organized on a larger scale. In the

1860s the Eisteddfod of the Western Reserve (northeast

Ohio) was begun (the twenty-sixth annual contest was held in 1890), and the Central Ohio Eisteddfod Association was formed in 1876. It was announced in July 1885 that the

"First Annual Ohio State Eisteddfod" would be held in

Youngstown; due to the size of this event, contestants were warned in the program that "competitors will be called ONCE ONLY, and if not answered will be dropped from the list."®^

Eisteddfodau sometimes brought in profits for worthy causes. The contest held in March 1886 in Lima helped

®*Scrapbook of the Lima Choral Society and Music in Lima, 1875-1896, Elizabeth M. MacDonell Memorial Library, Allen County Historical Society, Lima, Ohio.

®^Ibid. The Lima Choral Society took home the spoils in the mixed choir category, according to the Lima Daily Democrat, 3 July 1885. 46 retire the debt on a piano owned by the Lima Choral

Society. The reporter for the Lima Daily Democrat, who was of the opinion that the singing at this particular eisteddfod was "finer than at any of the previous competitions," mentions a profit of $450.®* In 1897, the

Venedocia Male Chorus purchased with their earnings a building (that they renamed Cambrian Hall) to house cultural events.

The accessibility of nineteenth-century programs offers us the opportunity to learn about eisteddfod rules and regulations. While specifics may vary from event to event, the basic rules remain the same. The Lima Choral

Society decreed in 1886 that at their eisteddfod professional vocalists would not be allowed to compete or to conduct any of the competing ensembles. The 1892

Delphos program read in part:

♦Adjudicator will divide or withhold prizes according to merit ♦All choirs competing on No. 1 [music] must also compete on No. 2 (in other words, both chorus test pieces] ♦All choirs competing on No. 1 must sing together after the contest and before the adjudication is given, under a suitable leader to be chosen by the Committee (a massed choir performance] ♦Competitors have the option to use English or Welsh words ♦In case of necessity preliminary examinations will be held®»

®*Lima Daily Democrat, 18 March 1886.

®»ScrapbooK of the Lima Choral Society, Allen County Historical Society. It appears that each competing choir sang both contest pieces before the next choir was heard. The prize was announced after all choirs had been heard 47

The information concludes with advice on ordering the test music, which implies that the program was printed well In advance of the actual event and served as an information tool for hopeful contestants and visiting spectators alike.

The Lima Eisteddfod of 1896 provided the following

"Rules and Conditions" for participants:

1. Adjudicators are authorized to withhold prizes for lack of merit or to divide prizes when merit is equal. 2. Competitors may bring their own accompanists, or may avail themselves to the official accompanist. 3. Competitors will be required to attend preliminary tests at above times and places. The three best at the preliminary test will be allowed to compete on the stage for the prize. 4. Successful competitors will hold themselves in readiness to sing at the evening session. [There was competition at the 9 A.M. and at the 1:30 P.M. sessions; the evening session was both a contest and concert.1

Rival choirs entered In the event were the Cleveland

United Choir, the Gounod Mixed Chorus of Columbus, and the

Delphos and Ada Choral Union, all with eighty voices; the

Marysville Choral Union and the Venedocia Choral Union, both of sixty-five voices; and the Lima Choral Society of sixty singers. There were also five male choruses and three ladies' choruses ready for battle at their respective times in addition to the usual soloists.

Individually and then had joined together apparently to sing the test pieces, "Let God Arise" by D. Jenkins and "The Lord Gave the Word" by Handel, one final time. 48

Finally, the Cleveland Eisteddfod of 26 December 1898 held under the auspices of the Cleveland Cambrian Society,

Inc., added these rules to a list that otherwise reads

like those above:

‘Protests will only be considered when made in writing and presented to Committee. ‘Ladies' Chorus must be under direction of lady conductor ‘Successful compositions to become the property of Cleveland Cambrian Sociey.

Concerts

As in Pennsylvania, the Ohio choirs and ensembles

involved in eisteddfodau were also participants in non­

competitive concerts. On Saturday, 4 July 1885, the Lima

and Ada Choral Union presented Rossini's Stabat Hater;

the Lima Choral Society began in December 1875 to perform

Handel's Messiah on an annual basis, and frequently

undertook the singing of other oratorios in the spring. A

program dated Tuesday, 20 Jan#k$^ 1890 is titled "Concert

given by the Eisteddfod Choir"; in small print the reader

is informed that items 1, 4, 7, 10, and 12 will be entered

**Thls rule seems to be unique. The names of female conductors do not appear in either contest programs or newspaper accounts for the nineteenth-century events. In the 1980s, the gender of the conductor does not necessarily correspond to that of the choir members either in Wales or in the United States for eisteddfodau or for cymanfaoedd canu. 49 in the competition at the Venedocia Eisteddfod to be held the following Thursday.*^

Some of the concerts, like the eisteddfodau mentioned earlier, were intended as benefits. During the years of the Civil War, proceeds from a concert held in Newburgh went to the Soldier's Aid Fund; in 1873 the Welsh Glee of

Cleveland gave a benefit concert for the family of their deceased director.**

Other concerts were explicitly advertised as a means of encouraging quality musical performance. In 1879, a

"musical convention" was sponsored by the

Congregationalists in an effort to raise the standard of sacred music in the Youngstown vicinity.** A similar meeting was held by the Presbyterians of the Youngstown area in 1892.**

Musical Celebrations Honoring St. David

The practice of honoring St. David, begun in the late

186CS, continued in the later decades of the nineteenth

**Scrapbook of the Lima Choral Society, Allen County Historical Society.

**Cleveland Leader, 19 March 1862 and 25 August 1873.

**The term "convention" is also found in Wisconsin's history. The term apparently is used to mean an assembly or gathering. Some of these conventions might actually have been eisteddfodic in nature before that term was familar to non-Welsh newspaper readers.

**Youngstown Vindicator, 28 December 1892. 50 century. Details from the 1891 celebration in Youngstown were reported on 3 March:

Opening address: Lewis E. Davis, chairman Conductor: Thomas J. Powell Pianist: Miss Williams "St. David's Day" sung by William Davis "Columbia" sung by Will Herbert Talk on "60 Years of the Welsh in Youngstown": David Williams "The Blackbird" sung by Maggie Edwards "The River" sung by Walter James "What Sayeth My Heart" sung by a quartet "Land of My Fathers" sung by all in attendance*®

The Youngstown St. David's Society gave its first official program on the evening of 27 December 1892. This affair offered no competition but plenty of songs and poetry, and it was reported that a large crowd attended.

The Youngstown Society apparently continued the St. David tradition for several years. Their celebration in 1898 marked the first in which women were invited to participate along with the (exclusively male) members of the Society.**

A long tradition of St. David's celebrations can also be traced in Cincinnati and Gomer. The St. David's

Society of Cincinnati was incorporated in 1889. Concerts and special meetings are on record for nine of the years between 1888 and 1902. Although some details are lacking, it appears that the Cincinnati gatherings featured more

'Youngstown Vindicator, 3 March 1891.

'Youngstown Vindicator, 5 February 1898. 51

ensemble singing, and that some of the ensembles included

women. The first official St. David's celebration in

Gomer, which included a program and supper, took place in

1896. The tradition continues in the 1980s.

Cymanfaoedd Canu

Evidence pertaining to cymanfaoedd canu in the later

part of the century comes from an 1892 hymnal pamphlet

from the Welsh Presbyterian Chapel of Youngstown, Ohio,

held by the Cambria County Historical Society of

Ebensburg, Pennsylvania. The pamphlet contains the texts

of twelve hymns to be sung on Saturday and Sunday, 8 and 9

October for a celebration that may have marked an

anniversary of the chapel. Another gymanfa ganu is on

record in 1883 in Gomer where cymanfaoedd canu have been

held annually since 1917.

*^Patricla Bowers Schultz, "A Comparison of the Traditional Welsh Gymanfa Ganu with Contemporary Local American Practices" (D.M.A. diss.. University of Missouri- Kansas City, 1984), 25. See appendix A for a list of known Welsh musical events in Ohio. CHAPTER II

WELSH CHORAL ACTIVITY IN WISCONSIN AND KANSAS

As new Welsh immigrants to America and second- generation Welsh-Americans moved farther west from

Pennsylvania and Ohio, they established smaller but concentrated centers of Welsh population in Wisconsin and

Kansas. The musical traditions being established in the east were also of importance to the Welsh in these states, where new settlements began to host and participate in musical events almost immediately.

The Welsh In Wisconsin

Welsh Immigration to Wisconsin

Several areas in Wisconsin were settled by the Welsh before Wisconsin's statehood in 1848; Genesee (Waukesha

County) in 1840, Racine in 1842, Columbus (north of

Madison) In 1845, and Oshkosh in 1847 (see fig. 3). Most of the pioneers had agricultural backgrounds; some of them were second-generation farmers from earlier settlements in the East.*

^Edward George Hartmann, Americans from Wales (Boston: Christopher Publishing, 1967), 71.

52 53

Oshkosh *

Columbus *

Madison * * Waukesha Milwaukee •

• Dodgeville Racine *

Figure 3. Welsh Population Centers in Wisconsin

Locations with lead or zinc deposits drew Welshmen of industrial backgrounds, as was the case in the development, also in the 1840s, of Dodgeville In southwestern Wisconsin. The growth of factories, in cities such as Racine and Milwaukee, also attracted 54 skilled workers. Immigrants with maritime backgrounds found life near the ports of Milwaukee and Racine to be familiar and prosperous.

The city of Chicago, on Lake Michigan a few miles south of the Wisconsin border, attracted many Welsh for the same reasons that Racine and Milwaukee did, and the job of hosting Welsh musical events was passed among the three cities. By 1900, Wisconsin's overall Welsh population ranked fifth in the United States with 11,222.

The estimated Welsh population in Chicago at this time was

5,037, bringing the combined total to 16,259 (Chicago was home to nearly half of the total Welsh population in

Illinois).

The Census of 1900 provides the following figures on

Welsh population in major Wisconsin settlements:

County Major City Population

Columbia (Columbus) 1,365 Racine (Racine) 1,124 Waukesha (Waukesha) 1,060 Milwaukee (Milwaukee) 1,037 Iowa (Dodgeyille) 972 Winnebago (Oshkosh) 806

TOTAL WELSH IMMIGRATION 11,222*

As was true in Pennsylvania and Ohio, the majority of these pioneers were of Protestant faiths, especially

Calvinistic Methodist (Presbyterian) and Congregational.

*Ibid., 96. 55

Early Musical Development

As the Welsh moved westward in the United States, they took with them the same musical interests that were developing in the east. Documents describing Welsh musical activities in various Wisconsin locations in the late 1850s and early 1860s show that, although these dates correspond closely with early dates mentioned in

Pennsylvania and Ohio, Welsh musical events in Wisconsin appear much more rapidly, i.e., only ten to fifteen years following initial settlement.

While 1850 is said to be the date of the first eisteddfod in Wisconsin, no verification or details of the event have been found.* The eisteddfod held in Racine in

1858 is the earliest that can be documented, but little is known even about this event other than the facts that "the foremost musical critic of Wales" leuan Gwyllt (John

Roberts; see chapter IV and appendix C) was the adjudicator and that there was a competition for composers, won by John P. Jones of Wisconsin.*

Musical and literary competitions were well under way in Milwaukee by 1862. It was reported that a prize would be given for singing a Welsh anthem at the third annual

"Milwaukee Journal, 13 November 1966.

*"The Welsh National Eisteddfod, Chicago, January 1 and 2, 1890," Program, Americana Collection, The National Library of Wales, Aberystwyth, 23. 56

"festival" slated for 15 January of that year.® Just two months later the next annual "eisteddfod" was announced

for Christmas 1862. A newspaper report from October 1874 announcing the "first Esteddfod" [sic] in Milwaukee is, therefore, almost certainly an error.*

The exact date of the first eisteddfod in the

Dodgeville area remains unknown, but on 4 January 1877 it was announced that "hereafter" the Dodgeville Eisteddfod would be held annually at Christmas, implying that a tradition had already been established.^

The interchanging of such terms as festival, convention, and eisteddfod in these accounts makes ascertaining the nature of an event difficult. In several

instances events labeled festivals and conventions are known to have included competitions. Perhaps the terms were used by non-Welsh writers for their non-Welsh readers. One writer described conventions of the 1860s as having "competitions in reading . . . composing tunes and singing by choirs, groups and single persons."® The terms

“Milwaukee Sentinel, 8 January 1862.

^Milwaukee Sentinel, 26 October 1874; this report might be referring to the first eisteddfod on a large scale held in the city (guests and competitors from Racine were invited). The Milwaukee Sentinel of 22 December 1879 makes reference to the "fifth annual" Milwaukee eisteddfod, which would follow the numbering begun in 1874.

^Milwaukee Sentinel, 4 January 1877.

•Howell D. Davis, Oshkosh, Wisconsin, Welsh Settlement Centennial, 1847-1947 (Amarillo, Texas: Russell Stationary Co., 1947), 88. 57 continued to be used interchangeably in the 1880s as in

the case of a "National Convention of the Eisteddfod y

Gorllewin" (Eisteddfod of the West) held in Milwaukee on

Christmas Day 1880.•

The appearance in Wisconsin of groups (and later events) called "musical unions" added a new dimension to the interchange of musical terms. One such group was

formed ca. 1861 under the leadership of John P. Jones; another was organized ca. 1866 and held its first

"session" (a term often associated with eisteddfodau) in

Cambria on 27 and 28 February and 1 March. This group hoped to be able "to offer prizes" at the next annual event, implying that competition was planned.** The eighth annual union convention was held in Racine for the purpose of "improving church music." While we might think that this improvement of church music would include the area of hymns and hymn singing, the press account

following the event reports only on anthems and oratorio choruses, repertoire normally performed at eisteddfodau.**

A Welsh Male Chorus was organized in Racine in association with the musical union of 1871 or 1872. This ensemble

•Milwaukee Sentinel, 2 December 1880.

*-**Milwaukee Sentinel, 18 February 1867. The Sixth Annual Welsh Musical Union was held in Cambria In March 1871.

^■^Mllwaukee Sentinel, 27 February 1874. 58 existed intermittently throughout the rest of the century, admitting non-Welsh members after the mid-lSBOs. Weekly rehearsals prepared the group for the performance of choruses and anthems at concerts, civic affairs, and contests.It appears that the term "union” could be used for any sort of musical gathering involving performance.

The only evidence of singing quality comes from a letter sent to Wales by two recent Wisconsin immigrants.

The Cheshire brothers asserted that "there is better singing here by far than ever was in Carneddau or

Llangollen either." They claimed to have heard some of the most "magnificent anthems which Handel wrote."*®

Eisteddfodau held in Pennsylvania and Ohio were often profitable ventures, and could be used to support worthy causes. In Wisconsin, we learn that some money was required to sponsor a competition; in October of 1877, a

"literary entertainment" was held for the benefit of the

"eisteddfod fund." The proceeds were used the following

Christmas for the Racine Eisteddfod, which attracted an audience estimated at four hundred to hear groups from

Racine, Milwaukee, and Chicago.*"*

*®"Pioneer Facts," The Racine Journal, 28 January 1926.

**Phillips G. Davies, The Welsh in Wisconsin (Madison: State Historical Society, 1982), 19.

*^‘*Mllwaakee Sentinel, 12 October 1877. 59

The size of some early choirs can be learned from a description of the annual Welsh "State Musical Convention" at Racine in February 1869. The following ensembles participated in the closing concert: the forty-five voice

Racine choir, the Milwaukee choir of thirty-five, an eighteen-voice choir from Chicago, the Cambria choir of twenty-five, the twelve-voice Oshkosh choir, and the

Waukesha choir of fifty. The audience in attendance numbered about one thousand. This event marks the first time that a choir from Chicago participated in a major

Welsh musical event in Wisconsin.*= It was the beginning of a lasting relationship, as can be seen from the examples given thoughout this chapter.

References to the language used at Welsh musical events appear only twice in the available material concerning Wisconsin's early years. While a prize was awarded for the singing of a Welsh anthem at the 1862 festival, "concerts in English" were given at the Welsh musical union of 1867.**

One of the earliest verifiable St. David's Day celebrations took place in Albany Hall (Milwaukee) on 1

March 1859. According to a Milwaukee Sentinal report of

24 February, the proceeds from this vocal and instrumental

*=Milwaukee Sentinel, 27 February 1869.

**Mllwaukee Sentinel^ 18 February 1867. 60 concert went toward the construction costs of the Welsh

Calvinistic Methodist Church. A reporter felt it appropriate to include, in a subsequent article, an explanation of who St. David was and why he was of importance to the Welsh (see the Introduction). The desire to hold musical events on St. David's Day is apparent from a February 1867 announcement explaining that the annual Welsh musical convention had to be scheduled for 21 and 22 February because "the new music hall [was] booked" on 1 March. Works of Handel, Haydn, Mozart,

Beethoven, and Bach were slated for performance, but the titles were not listed.*^

In a reference to an early meeting of the Welsh

Choral Union of Waukesha, while the words "gymanfa ganu" are not used, singing that fits the gymanfa description is mentioned. The program outlined for January 1880

indicates that "tunes and anthems were selected and announced for rehearsing by choirs in local churches" to be sung when "all come together in singing convention."*" This activity apparently continued over the next several winters. Executive sessions were held in the morning and choral singing began at 2 P.M. A

*^Milwaukee Sentinel, 7 February 1867.

*"Daniel Jenkins Williams, The Welsh Community of Waukesha County (Columbus, Ohio: Hann and Adair. 1926), 280. 61 distinction was made between the afternoon meeting and the evening concert, in which "choral singing was interspersed with quartets, duets, and solos," genres not usually associated with the gymanfa ganu.

Wisconsin Eisteddfodau after 1880

Eisteddfod activity in Wisconsin continued, often on a grand scale, throughout the rest of the nineteenth century; competitions were held in cities such as Oshkosh

(December 1882), Racine (1888), Chicago (January 1890), and Milwaukee (New Year's Day 1896).

The Racine eisteddfod of Christmas 1888, which turned a profit of $500 for the local St. David's society, was attended by visitors and competitors from "Dakota," Iowa,

Illinois, and Minnesota in addition to those expected from

Wisconsin. The preliminary press notices about the event called it both a festival and an eisteddfod, continuing the custom of using the words interchangeably. The

Milwaukee ensembles entered in the competition included a mixed choir of sixty voices and male and female choruses of twenty-four voices each; travelling with them were nearly four hundred spectators from their city.

Appropriately, the "Grand Chorus" test piece was Arthur 62

Sullivan's Christinas anthem, "Hark What Mean Those Angels'

Voices."

In January 1896, an estimated audience of two thousand attended the Milwaukee eisteddfod, at which a choir from Waukesha defeated five others to win the $200 prize in the choral contest. The event was deemed such a success that organizers planned to establish a "permanent eisteddfod on even a more elaborate scale,"*** but no evidence of a permanent eisteddfod organization specifically linked to Milwaukee or to this event has been found.

Prize money varied in amount from event to event, and from category to category. The Racine eisteddfod of 1897 offered the large sum of $500 to the mixed choir most successful in singing Handel's "Hear Us, Oh Lord" and

Mendelssohn's "Hunting Song." The victor in the male choir category took home $75 while the winner among women's groups pocketed $25; the best performance of

"Bells of St. Michael's" by a glee club garnered a prize of $40.** It was not unusual for the largest prizes to be given in the mixed choir and male chorus categories. Male

**Milwaukee Sentinel, 24 December 1888.

^Milwaukee Sentinel, 2 January 1896.

**Milwaukee Sentinel, 21 December 1896. 63 choruses in particular are still very popular among the

Welsh in the 1980s.

Very few programs from nineteenth-century eisteddfodau in Wisconsin remain, but one held in the

Americana Collection of the National Library of Wales offers some information not readily available through newspaper accounts. The eisteddfod took place on 1 and 2

January 1890 in Central Music Hall, Chicago; the cost of general admission seating was fifty cents for each meeting or session. The conductors for the concert portions were

W. E. Powell (Gwilym Eryri) of Milwaukee and local professor of music William Ap Madoc (who treated the audience to penillion singing as he had done fifteen years earlier in Columbus, Ohio).*® The music adjudicator was

D. J . J . Mason, trained at the London Royal Academy and a resident of Pennsylvania (see appendix C ) . Guest artists were employed for entertainment between contests and at the evening concerts. The bilingual program lists multiple competitions in several categories: essay

(five), poetry (seven), art (eight), singing (twelve), instrumental music (three), translation (one), recitation

**The eisteddfod program describes penillion as music in which "the harpist adheres strictly to the melody in its repetitions and variations, while the singer with each repetition must change his metre [sic], commence at different parts of the melody, introduce difficult alliterative stanzas, but he must manage to end with the melody; hence the difficulty." 64

(one)/ and shorthand (one), with prizes ranging from $5 to

$500. The repertoire for the singing contests included both Welsh and English titles by composers including

Handel, Mendelssohn, Haydn, D. Jenkins, and G. Gwent.

The program also includes an introductory essay on the historical background of eisteddfodau, recounting the expansion of competitions to include exhibits of "arts and improvements in the implements of war and peace, domestic manufactures, etc., so that from the Welsh . . . originated our present Expositions and World's Fairs."

The "object of the 'Eisteddfod' to be held at the

Central Music Hall," according to the essay writer, was

"to revive old memories, renew social ties, and display the culture and musical ability of our Welsh citizens and those of Welsh descent."®*

Eisteddfod planning was not without difficulties. It was reported in December 1885 that there would be no

official eisteddfod that Christmas due to "a misunder­ standing" at Racine the previous year. Milwaukee and

Chicago entrants had found the Racine committee "too officious and independent." Whatever the disagreement among these three cities, which often rotated hosting duties, arbitration was successful and an eisteddfod was publicized less than a week later.®*

®®Program, Chicago 1890, 22.

®*Milwaukee Sentinel, 16 December 1885. 65

In addition to these large-scale competitions, in individual towns there were occasionally smaller events such as the 1897 eisteddfod held in Oshkosh for persons under the age of twenty years. This event was sponsored by the Union Welsh Sunday Schools of the area.

St. David's Celebrations

The St. David's Society of Racine (the first in

Wisconsin) was chartered in 1887 and had its first celebration that year.*® The festivities included performances by the winners of a previously held eisteddfod. A large crowd attended the next annual event, at which there were competitions in music, literature, handwriting, and sewing. The purpose of the Society was to "render assistance to Welsh people in sickness and death"** and to sponsor cultu.al events.

In Milwaukee in 1892, nearly one hundred Welsh gathered for a banquet, toasts, and the "finest music ever seen [sic] in Milwaukee outside the eisteddfod."*^ The writer of the newspaper report concluded with speculation on the formation of a Milwaukee St. David's Society,

*®"St. David's Society to Mark 75th Year," The Racine Journal, 24 February 1961.

**"St. David's Celebrations," The Cambrian 8 (April 1888): 122.

**Mi2waukee Sentinel, 2 March 1892. 66 noting the large and active local Welsh population of more than twelve hundred.

A list of works performed at the 1893 St. David's concert in Milwaukee has been preserved, and from it we learn that the following Welsh and English songs were programmed: "Thy Sentinel Am I," "Wind in the Trees,"

"The Voyage," "Blodwen," "0 Gortref Yr Eryr," and

"Summer." The account ends with the remark that St.

David's Day has "always" been observed in Milwaukee, even back to "territorial days."** The association between music, especially singing, and St. David continued to the end of the century; on St. David's Day 1898 the Welsh

Presbyterian Church offered a supper followed by a program that would "be largely a musical one" at which Welsh songs and choruses would be performed.**

Cvmanfaoedd Canu

Beginning in the 1880s, cymanfaoedd canu were reported more often in Wisconsin than in other states

Investigated. A gymanfa ganu conducted by Welsh-American composer David Jenkins was held in the state in 1885; many

^•Milwaukee Sentinel, 26 February 1893.

^Milwaukee Sentinel, 1 March 1898. 67

of the hymns were selected from Jenkins' collection.*®

There was an admission fee for the two-day convention of

twenty-five cents per person or fifty cents per family.**

A pamphlet-slze Kmynau (Hymnal) from a "Cymanfa Ganu"

[sic] of February 1897 in Welsh Prairie, Wisconsin,

includes the Welsh texts for fourteen hymns with the

titles of the tunes to which they are to be sung (see

chapter IV).

A combined eisteddfod and gymanfa ganu (both terms

were used in the program) took place in Milwaukee in

January 1899. The opening concert began with audience

participation in the singing, under the direction of H. M.

Edwards of Scranton, Pennsylvania, of five hymns

including: "Crug y bar," "Moriah," "Aberystwyth,"

"Andalusia," and "Babel" (see chapter IV). The

competition portion of the event was extensive; preliminary examinations were held to limit each of the ten musical categories to three contestants. The

eisteddfod repertoire included works by Mendelssohn,

Schubert, Handel, J. W. P. Price, Gwilym Gwent, Daniel

Protheroe, and Dudley Buck.

*®Williams, Welsh Community, 281. Williams does not name Jenkins' collection.

**Williams, Welsh Community, 281. 68

The International Eisteddfod of the World's Fair

On 5, 6, 7, and 8 September 1893 Welsh from America and the United Kingdom held a series of eisteddfod sessions and concerts in Chicago in connection with the

World's Fair. This event caught the interest of participants from Utah, Iowa, Colorado, England, and

Wales, as well as contestants from Pennsylvania (see chapter I), Ohio, and especially the Wisconsin/Chicago area. The bilingual eighty-five-page Souvenir Program offers considerable information about this event, which can be considered in many ways the most complete eisteddfod held in nineteenth-century America. During each of the four days, a 1:00 P.M. contest session and an

8:00 P.M. contest/concert session were held. Admission price for the audience was fifty cents per session for a non-reserved seat, and one dollar for "the circle" or "the parquette." The whole affair was under the auspices of the three-year-old National Cymrodorian [Welsh

Society] of Chicago (whose membership numbered about one hundred men). The group formed an International

Eisteddfod Association with committees responsible for the regulation of each of the subject-matter areas, as well as printing, donations, transportation, and "public comfort."®* The Association, which included the

^“"International Eisteddfod of the World's Fair, Souvenir Program," Program, Americana Collection, National Library of Wales, Aberystwyth, 7. 69

Cymrodorian Ladies, consisted primarily of persons from

Chicago and Wisconsin.

An ancient Bardic Gorsedd, under the directorship of

Bard Rowland Williams (Hwfa Mon) of Llangollen, North

Wales, was held in conjunction with the eisteddfod. The ceremony was performed following the judging of compositions, in this case an ode on the subject of "Jesus of Nazareth."*® (Details on the rite and composition contest are provided in appendix B.)

The sheer size of this eisteddfod dictated the

use of preliminary contests, for there were twenty entries

in the duet division and nineteen in the contralto

category. Nine official accompanists assisted in the examinations held at 9 A.M. each morning. The number of

final entries accepted in each category varied from three

to seven.

Included in the program was a list of ten rules applying to all eisteddfod competitors, rules that

established a system for maintaining anonymity for

literary works and musical compositions, and emphasized

the authority of the adjudicators. The adjudicators'

authority, as outlined in the "special conditions" for

music competitors, included the option of dismissal

**Reverend E. Rees of Cardiff, South Wales won the composition prize. 70

"should any choir or competitor sing out of key." Other

"conditions" explained the possibility of preliminary examinations, the procedure for enrollment, and the

requirement that all singers participate in the mass chorus. The use of pianoforte or "American" organ for accompaniment was recommended except at the special Welsh costume event (to be discussed shortly) at which harp accompaniment was to be employed.

The test pieces in the "minor competitions" included:

"God Be Merciful" for quintet, "Life Without My Eurydice"

for contralto, and the baritone solo "Where the Linden

Bloom." The repertoire for male choruses consisted of

"Cambria's Song of Freedom" by T. J. Davies and "The

Pilgrims" by J. Parry (see appendix C); mixed choirs sang

"Worthy Is the Lamb" by Handel, "Blessed Are the Men" by

Mendelssohn, and "Now the Impetuous Torrents" by D.

Jenkins; and glee clubs performed "The Spring" and "The

Summer" both by G. Gwent. Mass choir performances of some hymns and Welsh airs, including the Welsh National Anthem and "The Ash Grove" arranged by John Thomas, preceded and

followed each session. The audience was invited to participate on some occasions (for which the music was

included in the program).

Nine adjudicators took part in selecting the winners

in musical events, although not every judge heard every category. Judges were arranged into small groups in which 71 each judge took a turn as group chairman. The judges came from many places: John Thomas from England, Haydn Morris and William Courtney of New York, T . J. Davies and

D. J. J. Mason from Pennsylvania, Reverend Morgan of Ohio,

William Tomlins from Chicago, and John Gower of Colorado.

Richard Pritchard's home was not indicated.

In addition to vocal music contest categories, there were also contests in three-string harp playing, pedal harp playing,*"* pencil sketching, poetry, essays, translation, and libretto writing. Winners were awarded prizes (usually money) donated by Welsh organizations and persons from around the United States. In two instances the victors received land that had been pledged— a lot in

Mitchell, South Dakota, valued at $200; and a lot in

Spokane, Washington, valued at $100. One successful essayist was awarded $300 and a new buggy. The prize of greatest value, $5,000, went to the winner in the mixed choir category, the Scranton Choral Union.

At the request of the Board of Directors of the

International Eisteddfod, the judges of the mixed choir competition (Tomlins, Thomas, and Gower) submitted a lengthy report on their selection process. The judges

“"•Although the harp is strongly associated with music in Wales, this is one of the few references to its use at American eisteddfodau. Its inclusion here may have something to do with the "international" flavor of the fair. 72 acknowledged the importance of the event and the honor afforded the winner but also stated that

the adjudicators naturally looked for a standard of excellence befitting the event, but in this they were disappointed, for whilst the singing of some numbers showed very careful and persistent training, yet on the whole there was lack of refinement, musicianship, and artistic feeling so inseparable with first class singing. . . . The Cymrodorion society of Scranton, which sang first, was, to our mind, less satisfactory than any of their rivals, . . . The Salt Lake City choir sang next and the impression they made upon us at the start was that they would probably make a hard fight for the prize. . . . As the awarding of the prize proved, the best work was done by the Scranton Choral Union— their superiority in all points was very discernable. They sang well together, kept well in tune throughout, and their general conception and interpretation of the pieces were good, . . . We admire much the singing of the Western Reserve, and considered that they gave the best performance of the second piece— "Blessed are the Men that Fear Him," . . . however, they were a little rough tin tone quality]. They sang well in tune, and ran the Salt Lake City choir a very close race for second prize. Indeed, the adjudicators were some time discussing the question before their final decision was given [to Salt Lake City].*®

The judges of the male chorus competition, a popular category at this eisteddfod, faced similar difficulty.

Seven ensembles, including five from the United States and two from Wales, passed the preliminary contest to the final. Much shouting and "waving of hats and handkerchiefs" accompanied the conclusion of each ensembles' performance. The final deliberations took long enough that announcement of the winner was delayed until

'1893 Scrapbook, Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania. 73 the following evening, at which time the Rhondda Glee

Society took first prize.** Adjudicators were not obliged to give awards if, in their opinion, no contestant was deserving: this happened in the cantata composition category and in an essay category.*^

Two special musical experiences were included in the four-day affair. On Wednesday, the evening concert included a performance of the "dramatic cantata" Llewelyn conducted by its composer John Thomas. It was performed by the combined eisteddfod choirs (about five hundred singers), guest soloists, the "Exposition Orchestra"

(about sixty members), and the Chicago College Band of

Harps. The entire libretto of the cantata is reprinted in the program in both Welsh and English. The story is based on the life of Llewelyn, the last Prince of

Wales before that title was taken over by the English monarchy in 1301; it tells of the conflict between

Llewelyn and King Edward I of England.

The other special event occurred on Thursday morning,

7 September. All participants were to wear traditional

Welsh clothing for this session, and the page in the program devoted to this event is printed entirely in

**w. Arvon Roberts, "Chicago International Eisteddfod of 1893" Part 1, Yz Enfys 101 (Oct.-Nov. 1973): 29.

*^W. Arvon Roberts, "Chicago International Eisteddfod of 1893" Part 3, Yr Enfys 107 (May-June 19 75): 19. 74

Welsh. The purpose of the session, which included a contest on singing Welsh melodies to harp accompaniment, seems to have been a reaffirmation of "Welshness" among

Welsh-Amerleans.

On several pages of the program the reader Is informed that a "Gymanva [sic] Concert" will be given on

Friday evening. The schedule for Friday does not mention anything about this concert, nor does it contain a list of the titles of the hymns to be sung. Pages seventy-six through eighty-three of the program, however, contain eight hymns in four-part harmony, presumably for audience and mass chorus use, including "Congress Street,"

"Esther," "Babel," and "Moriah." W. Arvon Roberts reports that the latter was sung by the full audience at the opening session of the eisteddfod.**

The Welsh In Kansas

Welsh Immigration to Kansas

The last night before they reached Emporia they camped near the home of Oliver Phillips, on Duck Creek. The Phillipses [sic] insisted on the young men coming into the cabin to sleep, and they sang Welsh hymns until long past midnight.**

**W. Arvon Roberts, "Chicago International Eisteddfod of 1893" Part 2, Yz Enfys 104 (July-Aug. 1974): 21.

**Goroer Williams, "An Outline of the History of Music in Emporia, Kansas 1858-1938" (M.S. thesis, Kansas State Teachers College of Emporia, 1939), 2; Williams quotes from a source he calls Laura M. French, History of Emporia and Lyon County^ Emporia Gazette, Emporia, Kansas, 1929. 75

The young men mentioned above were recent and early immigrants who arrived in Emporia, located in Lyon County, in 1857, the year the town was established. Emporia was one of the earliest Welsh settlements in Kansas, along with Arvonia in Osage County (ca. 1869) and Reading in

Lyon County (1870).** These towns were in close proximity to each other in the east-central part of the state, an area that was advertised widely in Wales and the eastern

United States as possessing fertile (and easily purchased) land (see fig. 4). Taking advantage of well-traveled major trails and new railway lines running conveniently through this portion of the country, several Welsh families began the journey westward to establish homes in

Kansas. Farming was a profitable endeavor, but Welshmen could also find employment in the coal, railroad, and timber industries of the area. By 1870 there were 600

Welsh settlers in the Emporia vicinity, 400 in Arvonia,

100 in Reading, and about 650 scattered throughout the remainder of state. The 1900 census indicates that the

Welsh population of Kansas had grown to 5,728 persons,

Lyon and Osage counties still containing the largest

**These three Welsh settlements were described in Reverend R. D. Thomas's Hanes Cymzy America (A History of the Welsh In America) which was published in Utica, N.Y., in 1872 partially in an effort to encourage more Welsh emigration. Portions of Thomas's book have been translated into English by Phillips G. Davies in "Welsh Settlements in Kansas," The Kansas Historical Quarterly 43, no. 4 (Winter 1977): 448-469. 76

numbers of Welsh-Amer leans, the majority of them of

Presbyterian and Congregational religious backgrounds.

Arvonia * Osage City * Reading * Emporia *

Figure 4. Welsh Population Centers in Kansas

Early Musical Activity in Kansas

Tradition has held that the first eisteddfod in

Kansas took place in 1870, but according to the Emporia

News, the first eisteddfod occurred before 1869 in the

Emporia area: "for several years these exercises

[Eisteddfod] have taken place at the school house in the

Welsh settlement south of town, but on Saturday last the

Court House was used . . . There was no advance

••‘Hartmann, Americans from Wales, 95.

‘*^Bmporia News, 24 December 1869. 77 invitation to the public, only this report that a competition in singing and speaking had taken place. The writer noted that the Welsh had previously "kept very quiet," and that "few people knew anything of the rich literary treat. . ." and went on to report that sessions had been held at 10 A.M. and 2 P.M. for the thirty-six participants from Arvonia who had joined those from

Emporia. Unfortunately the article provides no information about repertoire at this contest. Arvonia*s first recorded "eisteddvod" [sic] was announced for 4 July

1871, with literary events scheduled for the morning and musical events for the afternoon; a concert closed the affair in the evening.**®

No evidence of St. David's Day activities or cymanfaoedd canu in the first decade of Welsh settlement in Kansas has been found, but perhaps such assemblies or other less formal gatherings (like the one described in the quotation above) took place without receiving attention from the press.

Development of the Kansas Eisteddfod

Even after competitions had begun, the term

"eisteddfod" was only occasionally used in early press reports of Welsh activities. In 1870 and 1871, the Welsh

*^Empozla News, 16 June 1871. 78 of Emporia held what were called "festivals" and "fairs" in association with local Welsh churches; the fair held in

December 1872, which included performances by local soloists and ensembles and a demonstration of penllllon singing by D. L. Davies, was, at least in part, a competition. The Osage City Club and the Emporia Glee

Club competed against each other at this event with the songs "Cwymp Llewelyn" ("Fall of Llewelyn"), "Y Blodwyn

Olaf" ("The Last Flower"), and "Mai" ("May").**

By 1875 interest in competition was strong enough to warrant two eisteddfodau in that year. At the Osage City contest in July, the Emporia Welsh Choir won the choral competition prize of $20 for their performance of "O

Father, Whose Almighty Power" from Handel's Judas

(Maccabeus), defeating the Osage choir and a choir from

Dry Creek.*® There were other competitions, in both Welsh and English, in singing and in speaking. At the evening concert following the competition, all three participating choirs combined to form a grand chorus of about seventy-five singers for a final presentation of the test piece under the direction of Reverend Phillips, assisted by accompanist Eva Dodds at the piano. The day's festivities closed with "a grand pyrotechnical display"

^“^Empozia News, 20 December 1872.

*®Emporia News, 9 July 1875. 79

(fireworks).^* The December 1875 eisteddfod in Emporia, called the "Semi-Annual Eisteddfod," had an average of six contestants in each of the musical categories. The composition prize was divided between William Jones of

Corner, Ohio, and D. L. Davis [Davies?] of Arvonia; Jones' participation indicates that Welsh-Americans competed in eisteddfodau held in states other than their own.

In the winter of 1880, the Kansas State Eisteddfod, held in Emporia at Bancroft Hall, offered prizes totaling

$300 to choirs and soloists. John P. Jones, music judge from Chicago (see earlier discussion of Wisconsin), awarded the Emporia choir $50 for their performance of

"Old Fiftieth," and the same amount to the Arvonia glee singers for their superior singing of "Y Gwanwyn" ("The

Spr ing" ).

State-wide eisteddfodau continued in Kansas throughout most of the 1880s. A list of the winners at the state competition of 1883 provides an example of repertoire, competition categories, participants, and prize amounts:

Grand Chorus: "Achieved Is the Glorious Work" $75 awarded to the Emporia Welsh Choir Chorus: "Oh Lovely Wales" $35 divided between Osage and Emporia Glee: "May Day" by Mueller $12 awarded to the Emporia Glee Party

^^Osaqe City Free Press, 10 July 1875

"*'^Bmpozia News, 24 December 1880. 80

Quartet: "The Lark" by Mendelssohn $4 [no winner listed] Solos: (no titles provided] $2 each for tenor E. J. Owen of Emporia; baritone William Jeremy of Arvonia; and soprano Mrs. J. S. Jones from Osage City Duett [sic]: "Kind Old Friendly Feeling" $2 awarded to Mrs. Jones and her sister Children's Choir: "Go Work in My Vineyard" $12 presented to the Emporia Temperance Band*"

Composers and "professors" from the east did not regularly travel to Kansas to serve as eisteddfod adjudicators, but the account of the 1 January 1885 eisteddfod in Osage City tells us that Professor Lewis

Anthony of Wilkes-Barre, Pennsylvania, received $100 for his services as music judge. His contest decisions "gave great and universal satisfaction" toaudience members from

Kansas (Lyon and Osage Counties), Nebraska, Iowa, and

Pennsylvania.*"

At least one Kansas Welshman had the opportunity to travel to other states to serve as an eisteddfod adjudicator. Professor D. 0. Jones of Emporia, trained in

London and well-regarded as a local conductor and adjudicator, also served as music judge at contests in

Colorado, Iowa, and Missouri.®**

A report on the eisteddfod held in December 1885 provides us with the number of singers in participating

'"Emporia News, 26 December 1883.

'"Osage City Free Press, 1 January 1885,

'"Williams, "An Outline," 30. 81 choirs: the Arvonia choir of forty singers, the Dry Creek choir of fifty singers, the Emporia St. David Choir of forty-five singers, and the Emporia Presbyterian Choir of fifty singers (the winners of the event) all competed for honors on the test piece "Blessed Be the Lord God of

Israel.

As in Pennsylvania, Ohio, and Wisconsin, at Kansas eisteddfodau both Welsh and English were heard. Press articles written entirely in Welsh occasionally appeared in local newspapers, and less often a contest program was printed in Welsh. This choice of language may not always have been a reliable indication of the language of performance; in 1888 the program for the Emporia eisteddfod was printed in Welsh, while the newspaper listed the titles in English.

At the end of the decade, eisteddfodau on a smaller scale were sometimes sponsored by individual communities.

On Christmas Day 1887, separate eisteddfodau in Emporia and in Arvonia took the place of the usual joint venture.®* A lengthy article in the Overland Monthly of

April 1889 provides a variety of information (clothed in negative opinion) about one eisteddfod held in an

*‘Osage City Free Press, 31 December 1885.

**Osage City Free Press, 14 and 28 December 1887. 82 anonymous Kansas town ca. 1884. The writer proclaims that the Welsh of the area are very interested in singing, but observes that

were the quality of their voices but equal to the quantity of their zeal, the effect of their performances would be sublime; as matters are, however, the effect is— something else . . . How they sang! each one evidently imbued with the idea that the chorus was to win the prize through his or her individual efforts. How they rolled their heads in time to the music . . . while others furtively beat the floor with one foot.”

He goes on to note the use of the Welsh language for some speaking and singing events as well as for portions of the printed program— a frustration to him, as he had been

"taught to read with the aid of vowels."

While the article chastises the violins and cellos of the accompanying orchestra (a rare instance of something other than piano accompaniment) for their "squeaks and moans," the author comments favorably on the (equally rare) harp and piano accompaniment that was provided for one duet. Finally, he refers to the "morning of the third day" of the eisteddfod, an indication of the length of one of the larger competitions.

The sponsorship of both large and small eisteddfodau continued in Kansas into the 1890s. The Second

” "The Kansas Eisteddfod," The Overland Monthly 13, no. 76 (April 1889): 480. Although the author's name is not provided in the journal, it would be interesting to know his ethnic and musical background in light of some of his derogatory remarks. 83

Congregational Church of Emporia began in 1892 a tradition of annual contests that was to last for at least seventeen years. In the same year (1892) the community of Peterton hosted an eisteddfod that was pronounced a grand success, and in 1893 plans for a large-scale "Kansas Musical

Jubilee" were formulated. The first Jubilee was scheduled for 10 April 1894 in Hutchinson, and included contests for chorus, ensemble, and solo singing. The

Emporia choir won the grand prize of $500 for their performance of "Hallelujah To the Father" by Handel, conducted by D. O. Jones.**

An argument over the payment of prize money raised a question in the following year as to whether the Jubilee tradition would continue. Because of this dispute, settled only hours before the opening exercise was to begin, only two choirs had pre-enrolled for the competition. (Pre-enrollment was not mandatory.)** In the end the event did take place, and the Emporia mixed choir and ladies' chorus both won their divisions. A third Jubilee was proposed for May 1896 but no evidence has been found that indicates whether or not it took

^^Empoiia News, 12 May 1894. It is not clear whether these Jubilees were strictly for Welsh participants or not. It is clear, however, that the Welsh of Kansas played a prominent role in their organization and membership.

^’^Bmpozia Daily Republican, 9 May 1895. 84 place, and no other Jubilees or eisteddfodau are discussed

in the press through the end of the century. (A group from Kansas went to the International Eisteddfod of the

World's Fair in Chicago in 1893 but was not entered in the final mixed choir competition.)

Non-Competitive Musical Events

St. David's Day concerts for the Welsh public began in Emporia in March 1888 and have been held almost annually since. Prior to that date, informal gatherings of the Welsh on or near 1 March probably took place in local homes, but did not receive comment in the press. At the same time, the Emporia Choral Society began to present oratorios such as Handel's Messiah in concert settings,** and the Welsh Choral Union of Emporia began to offer public concerts. These concerts included a variety of music, as this list from a concert given during the

Christmas season of 1892 indicates:

"Awake Aeolian Lyre" sung by the Choral Union "The Marsh of Rhuddlan" a solo performed by J. W. Lewis "Mae Cymru's Barod" sung in Welsh by a male duet Guitar and mandolin music "Magnetic Valse" composed by L'Arditi and sung by Mrs. Stone An anthem by local composer D. 0. Jones "Comrades in Arms" sung by a male chorus*^

^Bntporia Daily Republican, 25 December 1889.

'Empozia Daily Republican, 26 December 1892. 85

A St. David's Day concert program from 1894 provides a similar mixture of Welsh airs and sacred song titles:

"Land of My Father" unison singing Glee: "Nant y Mynydd" Solo: "Footsteps on the Stairs" Duet: "Prayer of the Wanderer" Cornet Solo Chorus: "Arm of the Lord, Awake"***

On 2 March 1895 the Emporia Daily Republican reported that the "usual" St. David's celebration, a gathering that included songs, solos, instrumental music, and recitation, had been held the night before. A celebration in Osage

City in 1896 attracted Welsh from the neighboring community of Peterton, and consisted of an afternoon session in Welsh and a concert in English in the evening.** The Welsh of Arvonia and Reading were also involved in St. David's celebrations in the late 1890s; they held a combined meeting in March 1898.

St. David's Day celebrations have continued in the twentieth century, especially in Emporia, where the one- hundredth-anniversary event took place on 6 March 1988.

On some occasions in the twentieth century, as in Arvonia in 1912, competition categories have been included in St

David's Day activities, but non-competitive events have been more common.

“Williams, "An Outline," 40 and 41.

•Lebo Enterprise, 27 February 1896. 86

There are no records of cymanfaoedd canu in Kansas during the time period under investigation. Since modern

St. David's Day celebrations in the state often include the harmonized singing of Welsh hymns by the audience (an activity associated with cymanfaoedd canu though the term is not widely used), we can conjecture that hymn singing was also a part of St. David's Day gatherings in the late nineteenth century. CHAPTER III

CONCERT AND CONTEST MUSIC

Approximately 875 pieces o£ music sung before 1900 at

Pennsylvania, Ohio, Wisconsin, and Kansas eisteddfodau,

Welsh concerts, St. David's celebrations, "festivals,"

"fairs," and "conventions" have been identified by title.^

The list includes examples in a variety of musical styles

and genres by composers from Wales, from other European

countries, and from America. Titles appear in Welsh or in

English, and sometimes in both languages; the composer is

identified in about 50 percent of the cases.=

Music by Composers Not of Welsh Heritage

As the contest pieces described in chapters I and II

show, choruses and arias from familiar oratorios were

popular fare at eisteddfodau and concerts. Works

*The 875 titles were gathered by a search of newspaper accounts, extant programs, and secondary sources.

*In many cases, it is possible to make an assumption regarding an unnamed composer (for example, "And the Glory of the Lord" is probably by Handel); but this has not been done in an effort to avoid reading into an account something that might not be correct.

87 88 identified with G. F. Handel appear more often than those by other European composers: the choruses "And the

Glory," "Hallelujah," "0 Father Whose Almighty Power," and

"Worthy Is the Lamb" were sung frequently; smaller ensembles and soloists often performed "How Vain Is Man,"

"0 Lovely Peace," and "Sound the Alarm." "O Great Is the

Depth" and "Thanks Be to God" by Felix Mendelssohn were used as test pieces for choirs, and his "If with All Your

Heart" and "0 Rest in the Lord" were selected for solo competitions. Portions of F. J. Haydn's The Creation also appear in the repertoire; "The Heavens Are Telling" was performed at least six times between the years 1875 and

1898, and "Now Heaven in Fullest Glory Shone" was selected as a test piece for bass soloists on several occasions.

A partial list of works by other European composers shows the diversity of styles in the music performed by

Welsh musicians, especially in the solo and small ensemble categories :

Beethoven "Song of Penitence" soprano Bellini "Hear Me, Norma" duet Bizet "Toreador Song" solo Donizetti "Now the Roll of the chorus Lively Drum" Gluck "Life without My alto Eurydice" Gounod "Lend Me Your Aid" alto Mozart "Gloria" chorus Schumann "Come Where Soft female duet Twilight Falls" Schubert "The Lord Is My female chorus Shepherd" Sullivan "Sailor's Grave" tenor 89

Songs such as "Queen of the Earth" by the Italian composer and singing teacher Giro Pinsuti were also popular choices

for competition and concert performance. Pinsuti composed operas, sacred music, and piano pieces in addition to nearly 250 songs that "were extremely popular in Victorian

England,"= and, apparently, among Welsh-Americans.

The list of vocal compositions and arrangements known to be by American composers not of Welsh origin is much shorter. Only five well-known composers of the nineteenth century are represented by name: Dudley Buck, G. W.

Chadwick, L. M. Gottschalk, Horatio Parker, and [George]

Root. Three of these composers were associated with eisteddfodau and conventions in Pennsylvania— Root in

1869, Buck in 1880, and Parker in 1905. While a majority of the repertoire for large choruses was taken from the oratorios of Handel and Mendelssohn, these Americans contributed primarily solo songs and small ensemble pieces such as those listed below.

"Fear Not, O Israel" soprano Buck "She Is Mine" male quartet Buck "Robin Adair" quartet Buck "Allah" baritone Chadwick "0 Let the Night Speak" solo Chadwick "0 Loving Heart" soprano Gottschalk "Harold Harfagar" chorus Parker "In May" female chorus Parker "Lay Him Low" glee Root

®The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Pinsuti, Giro," by Elizabeth Forbes. 90

Welsh National Music Performed in America

Arrangements of Welsh folk songs or national airs were often performed at concerts and contests in the

United States, for Welsh-Americans were interested in maintaining the musical traditions of their native land.

Gwynn Williams, who has studied the music of Wales in the second half of the nineteenth century, reports that written vocal arrangements of Welsh songs did not appear in Wales with any regularity until well into the nineteenth century.* One widely circulated collection was

Songs of Wales, compiled and edited in 1873 by Brinley

Richards; it was reprinted and enlarged in 1879 and re­ issued in 1884.® A comparison of the 1884 edition with the present list of repertoire performed at nineteenth- century Welsh-American events shows that over one-third of the sixty-nine titles in Richards' collection were performed at concerts or contests in America, among them

"The Ash Grove," "The Bells of Aberdovey," "The

*W. S. Gwynn Williams, "Traditional Music," in Music in Wales, ed. Peter Crossley-Holland (London: Hinrichsen Edition Limited, 1948), 26.

“According to an unpublished eisteddfod essay by "Milton" held in the Lackawanna Historical Society Jones Musical Collection, Brinley Richards promoted the talents of American Joseph Parry in Wales; Parry may have reciprocated by promoting Richards' collection of songs in America. 91

Blackbird,” "David of the White Rock," "Men of Harlech,"

"The Nightingale," and "Maid of Sker."

Music by Welsh and Welsh-American Composers

A number of composers of Welsh heritage contributed to the concert and contest repertoire of the American

Welsh. Of these men (whose lives are discussed in appendix C), John Ambrose Lloyd, John Roberts, and John

Thomas should be considered primarily as "Welsh composers" for they spent most of their lives and did most of their work in Wales or England. (Both Roberts and Thomas visited and worked among the Welsh in America on at least one occasion.) The others (William Ap Madoc, T. J.

Davies, D. Emlyn Evans, Gwilym Gwent, David Jenkins,

D. J. J. Mason, Joseph Parry, J. W. Parson Price, and

Daniel Protheroe) may be considered "Welsh-American composers," since a substantial portion of their musical activity took place on American soil. The group as a whole represents a mixture of professionally trained and self-taught musicians, and a mixture of those who earned their livings as composers and music teachers and those who did not. The names of Parry and Protheroe would likely be the most familiar to Welsh-Americans of the twentieth century.

These composers were responsible for over 25 percent of the concert and contest repertoire identified with a 92 specific composer. Some of their extant compositions

(including anthems, glees, serenades, and solos) that are known to have been sung in America can be found in the analysis of repertoire that begins on page 94.

Musical Preferences in Welsh-American Communities

Compositions by Handel, Haydn, Mendelssohn, and

Joseph Parry were used consistently throughout the five decades under investigation, and the same can be said of arrangements of Welsh airs such as "The Bells of

Aberdovey" and "Men of Harlech." Europeans including

Donizetti, Mozart, Gounod, and Bellini are mentioned by name in the 1860s, while performances of works by Rossini,

Schubert, Bizet, and Gluck were not announced until the

1880s and 1890s. The songs of Pinsuti were performed regularly after 1875. One composition by Wagner

("Walther's Prize Song") and one by Verdi (a quartet from

Rlgoleto [sic]) were used as contest pieces in Pittsburgh just after 1900.

With the exceptions of works by J. A. Lloyd and

Joseph Parry, most compositions by Welsh and Welsh-

Amer ican composers are listed (with the composers' names) only after 1875. Their pieces were more frequently performed in the late 1880s and 1890s. Most of the compositions by American composers mentioned in this chapter were not performed until after 1885. 93

Musicians in the four states under consideration had similar tastes in their selection of contest and concert pieces. Each state's list contains a scattering of the standard oratorio choruses and arias, anthems and glees by

Welsh-Americans, and Welsh airs. The repertoire preferred in Welsh-American communities is also very like that preferred in Wales during the same time period; there, choruses of Handel and Mendelssohn used in mid-century at local festivals and church meetings were later transferred to the eisteddfod as contest pieces. Glees and anthems by composers such as Gwilym Gwent, John Thomas, and Emlyn

Evans were also common fare, and there was an interest in the oratorios and anthems of Joseph Parry and David

Jenk ins.*

In the mixed choir and solo categories, compositions from standard European oratorios dominated the repertoire, while compositions by Welsh-Americans were frequently performed by smaller ensembles and the very popular male choruses.^

^W. R. Allen, "The Choral Tradition," in Music in Wales, ed. Peter Crossley-Holland (London: Hinrichsen Edition Limited, 1948), 32.

^The Welsh male chorus does not seem to have a history identical to the equally popular German male chorus. The German groups were often founded initially as segregated musical and social organizations to which women were added only in later years when repertoire demanded the use of female voices. The Welsh choral heritage is connected so strongly to the SATB singing of church hymns 94

Since Welsh-Americans of the nineteenth century continued to be interested in musical events in their native land, an article in the Scranton Republican of 14

April 1900 provided a list of the "important musical works given in Wales during the past month":

Mendelssohn St. Paul Beethoven Mount of Olives Rossini Stabat Mater Mendelssohn Elijah Parry Cambria

The list reads like one that might have been made at the time for works given at concerts in the United States by musicians of Welsh heritage.

Characteristics of the Welsh and Welsh-American Repertoire

Welsh and Welsh-American composers provided compositions that were well suited for use at competitions and concerts. The vocal material was apparently within the capabilities of the non-professional singers who constituted many of the Welsh choirs in the United States, that it does not appear that male choirs existed earlier than mixed groups. (This is not to say, however, that the Welsh male choir is not an important social outlet for the men involved.) See The New Grove Dictionary of American Music, s.v. "Choral Music," by James G. Smith and Daniel Protheroe, "The Influence of the Welsh and the German in American Choral Music" in Studies in Musical Education History and Aesthetics, 3rd series. Papers and Proceedings of the M.T.N.A. (n.p.: the Association, 1909). 95 but it still provided them with a musical challenge great enough to warrant competition. If the examples discussed below* are an indication of the level of ability of most

Welsh-American choirs, the polyphonic complexities found in the works of Handel must have been a considerable challenge to them. The melismatlc passages, rhythmic complexities, and range of standard oratorio arias are also likely to have been difficult for many of the solo competitors.

The vocal ranges found in the examples are generally moderate for each of the voice parts, and melodic

intervals for the singers are not difficult. "Awel Mai”

("Balmy May"), a part song by Gwilym Gwent, and "Summer

Night," an unaccompanied serenade by T. J. Davis for TTBB male chorus are exceptions. Gwent requires a fairly wide range of the sopranos, and they must sustain a low E‘^ (at pp volume) for several measures. He also demands vocal

flexibility from both the sopranos and the tenors as they take turns singing melodic intervals of a sixth in the

“Musical examples are provided in appendix D. The Welsh and Welsh-American examples included in this discussion (by composers whose names appear the most frequently in the repertoire) were selected from the limited amount of printed music currently available that is known to have been performed at contests or concerts held in the United States. The only exceptions are the two works by J. W. Parson Price. Since none of his works known to have been performed in America are currently available for perusal, representative sacred and secular examples were chosen from available material. 96 mid-section of the piece. These wide intervals are usually slurs on one text syllable (such as the word

"with"), which most certainly creates difficulty. In

"Summer Night" the range of the upper tenor and lower bass parts is extended to a b^' for the tenor and to an F for the bass.® In several of the secular examples the vocalists are aided by a piano accompaniment, which in many instances simply doubles the voice parts. The texts are in English; if Welsh is provided, it is joined by an

English translation. The length of the vocal phrases, normally two or four measures, should present no problem for most choirs.

The texts of the secular examples tend to be sentimental, and sometimes contain references to the homeland. The composer frequently matches the form and harmonic movement of the work to the text. The two verses

(with piano accompaniment) of "My Blodwen, My True

Love,"*® the song of an imprisoned man who is dying, will

®The octave indication system is the one used in the Harvard Dictionary of Music, 1973 printing. This range is not uncommon in modern TTBB chorus arrangements. There is considerable similarity in the level of musical difficulty between "Summer Night" and works contained in Standard Selections for Male Voices compiled by 0. L. Fogle for the John Church Company of Cincinnati in 1889. This collection reflects German preferences in its selection of texts and tunes, and may have been used by mânnerchôre.

*®This solo, from Parry's opera Blodwen, uses Tonic Sol-fa notation for the soloist. The music in contained in appendix D, and an explanation of this system can be found is chapter IV. 97 serve as an example. Each stanza is a musical ABA' form.

An eight-measure introduction, which presents the complete

A melody, precedes text section "a" (eight measures sung to musical section A). A three-measure modulating piano interlude leads to text section "b" (eight measures sung to music B), a four-measure return by the piano to the original key, and a twelve-measure extension of A for the singer (text section "a" with the second half of music A altered; the second half of the text is then repeated with the new melody further altered at the cadence). The second verse is musically identical to the first

(including the introduction), except for a further six- measure extension of A', which twice repeats the final half-line of text, leading to a sustained pp cadence. The second verse text is in a "cdd" design (in contrast to the

"aba" of verse one). The "c" portion of the text of this second verse is crucial to the meaning of the song, for it is there that the listener learns that the singer is a wounded soldier captured in battle. The fermatas near the ends of phrases strengthen the emotional expression. The opening and closing of each verse of "My Blodwen" (A and

A' ) is in A*“ major while the mid-sections are in the parallel minor. This highlights the sorrow of "fetters" and "dungeons" in verse one and "the mysterious hereafter" of verse two. The return to the major key at the end of 98 verse two changes the mood of the repeated "d" text to emphasize the "thoughts ever of thee."

Similarly, in "The Rivulet" (see appendix D), a glee by Daniel Protheroe, the metaphorical description of a

river in the mountains frozen in the harshness of winter and awaiting the coming warmth of the sun is supported by an ABA' form in which the A sections are in F major and

the B section (which refers to winter) is in the parallel minor. This use of a key change in the central portion of a piece is common (as in "Come to Me, Love"), but does not always have programmatic significance.

"Balmy May" by Gwent again proves to be the exception

in its lack of standard form and modulation,** and its stagnant text. The part song is divided into three sections set off by double bar lines. The extremely repetitive text seems to have no real direction that can be highlighted by harmony or form. The final section is

the longest (twenty-four measures) but has the least amount of text ("with delight, with great delight, comes

the stillness of the night"). Gwent adds a touch of

solemnity to the ending by the use of a plagal cadence.

There is little textural variety in the secular

ensemble examples. The usual four-part homophonie texture

with melody in the upper voice is interrupted only

**Gwent makes frequent reference to G minor in the third portion of the piece but never completely modulates. 99 occasionally by short unisons, some duets, or elaboration of the melodic line in an otherwise chordal structure, a technique commonly used for word painting. These features are evident throughout in "Come to me. Love" by Parson

Price, which is varied by the use of word painting on the word "come" (in m. 21 and in the final measures). "Balmy

May" and "The Rivulet" exhibit similar textures but also include "echos" (by the lower voices) of text already introduced by the sopranos and several points of imitation. All the works are written in standard rhythmic meters, with few significant tempo alterations that woulc’ require extra rehearsal time. The predilection for homophonie textures and straight-forward rhythms places these works in the category of "moderate difficulty" by modern choral standards.

The Welsh-American composers of the second half of the nineteenth century used chromatic movement, passing-tone embellishments of melodies, and secondary dominant chords much as did their American and European counterparts. Protheroe's "The Rivulet," for example, begins with a second inversion sub-dominant chord that delays the first tonic-chord sound for two beats. The melodic pitches (a, g#, b**, a) serve as effective (but not difficult) embellishments until the "a" is heard clearly as part of the tonic. The first strong dominant-tonic motion (and the solid establishment of the key) is delayed 100

until measure four. In "Come to Me, Love," Price creates

harmonic interest with suspensions, common-tone diminished

chords, and dominant sevenths, but here, too, there is

little difficulty for the singers.

The SATB folk-song arrangements of John Thomas, used

at the eisteddfod in Chicago in 1893, represent the

simplest choral examples of those studied, as we might

expect since they were used as audience-participation and massed-choir numbers at the opening and closing of each eisteddfod session. "The Ash Grove," for example,

provided with both English and Welsh texts, has

four-measure phrases, triadic melodies in the soprano

line, hymn-like harmonies and texture, and regular meters and rhythms. No separate accompaniment is provided in the printed music, but harp or piano accompaniment is listed

in the Chicago program.*®

Among the examples under investigation, the anthems

"Teyrnasoedd y Ddaear" by J. Ambrose Lloyd and "Christ Our

Passover" by Parson Price exhibit the most complex structures and make the greatest musical demands on the singers. "Teyrnasoedd y Ddaear," which won the composition award at the eisteddfod in Bethesda (Wales) in

May 1852, is the earliest of the works discussed in this

*®Thomas arranged many of the same tunes in his collection for SATB choruses as were included in Brinley Richards' collection for solo voice with keyboard accompan iment. 101 chapter. Its Welsh text, borrowed from Ps. 68:32-35,*-* lends itself to the verse-anthem form found in many sacred compositions of the Anglican church— verse 32 is sung homophonically by the SATB chorus, verse 33 is for a bass soloist,** the first part of verse 34 is performed by a solo quartet and repeated by the choir, and the remainder of the verse is sung by an ATE solo trio. The final verse is written for the full ensemble, with the first phrase presented homophonically while the following phrase is elaborated and extended with a fugal subject and points of imitation. This section leads, in the best Handelian manner, to the final homophonie cadence. The melodies, harmonies, and rhythms employed by Lloyd are rather elementary (the bass solo is an exception), but the polyphonic and rhythmic elaboration of the final verse would require substantial rehearsal time.**

**The printed music indicates that the text is from Ps. 58, which is a misprint. The English text is provided in appendix D following the musical example.

**This printing provides no accompaniment for the bass soloist, which raises a question as to whether the solo was sung a cappella or whether an accompaniment of some kind existed at some point. The solo portion was used as a test piece at an eisteddfod in Osage City, Kansas, in 1876 but no indication is given as to a cappella or accompanied singing by the contestants.

**The "anthems for country churches" written between 1700 and 1840 that Nicholas Temperley has described in The Music of the English Parish Church, Volume 1 (pp. 165- 167), seem musically and structurally similar to this anthem by Lloyd. 102

Price's anthem from the last quarter of the nineteenth century, "Christ Our Passover," also in verse- anthem style with sections based on differing sacred texts,**" employs a full chorus, a small chorus, a solo trio, and a soprano soloist. The most demanding music is written for the soprano soloist, while the choir is given simpler music frequently aided by pitches written into the keyboard accompaniment. Within the prevailing homophonie texture, there are short contrasting points of imitation; especially at the beginning of a new section, there are also brief unisons. Price makes use of some dotted notes and syncopations, especially in the sections for fewer voices, but most of the rhythms are standard. His modulations to closely related keys correspond to the meaning and sections of the text, and are difficult enough to require rehearsal by most amateur choirs.*^

If these examples are indeed a fair cross-section of

Welsh and Welsh-American composition, it would appear that pieces by those composers do not, in general, represent

**The first portion of the text is from I Corinthians (chapters 5 and 15) and Romans (chapter 6); the translation of the "Gloria" is from The Book of Common Prayer.

‘■^Price's metrical accent on the middle syllable of the word "passover" is rather startling. The pronunciation given by nineteenth-century dictionaries does not reveal any clear-cut reason for this, but perhaps he was thinking of the origin of the word in the two words "pass" and "over." 103

the same musical standard as can be seen in the oratorios

and other choral compositions by Handel, Haydn,

Mendelssohn, or Mozart found in the Welsh-American

repertoire. The secular examples are especially

reminiscent of nineteenth-century parlor music in their sentimental texts, predictable musical forms, melodic embellishments, and rather simple harmony. The pieces nevertheless served an important function for

Welsh-American choirs at both concerts and contests, and are worthy of study in that light. Unfortunately, the repertoire list does not provide enough data to determine whether compositions by Welsh and Welsh-American composers were sung more often at concerts than at contests (perhaps

indicating a lower level of difficulty), nor whether any of these works were sung only by smaller choirs and ensembles (sometimes an indication of greater musical difficulty). Their compositions were used more frequently

in the later years of the nineteenth century as the number of musical events increased. Research into twentieth- century performance practices might reveal whether or not

Welsh and Welsh-American compositions eventually replaced standard oratorio selections at contests and concerts, or whether they were simply another source of repertoire 104

(with a nationalistic appeal) suitable for a variety of programming needs.**

**Mary K. Philips has found that Welsh national songs, oratorio choruses and arias, and works by Welsh and Welsh-American composers remained in the eisteddfod repertoire in the 1920s and 1930s in Los Angeles. See "A Study of the Sources of Welsh Music in America" (M.A. thesis, Claremont Graduate School, 1948), 163-65. CHAPTER IV

WELSH HYMNODY IN AMERICA

Hymn Collections in Wales

Welsh congregational psalm singing had its beginnings within the Anglican tradition of Wales. Twelve single- line melodies were included in The Book of Convaion Prayer, published in Welsh for the first time in 1621 by Edmund

Frys. However, the real impetus for singing by Welsh congregations began with the Nonconformist revivals of the second quarter of the eighteenth century. In the 1740s,

Methodists, under the leadership of John and Charles

Wesley, and Calvinistic Methodists (today called

Presbyterians), influenced by George Whitefield, promoted the practice of unison hymn singing, which was spread throughout Wales through the efforts of Howell Harris and

Daniel Rowland.* Other Nonconformist sects such as the

Congregationalists (then called Independents) and Baptists

‘Lincoln Hartford, "A Good Tune, A Dissertation on the Phenomenon of Welsh Hymn Singing" (Th.D. dlss., Chicago Theological Seminary, 1981), 27; see also Richard Bennett, Howell Harris and the Dawn of Revival (Brigend (Wales): Evangelical Press of Wales, 1987). A possible connection between revivalism in America and Wales is discussed later in chapter V.

105 106 began to include congregational singing within their services by the end of the century. The need for Welsh hymns for congregations to sing inspired "Wales' greatest hymn writer" William Williams® to write and collect

(mostly from English sources) a number of tunes that were published in 1744 in Alelvja [sic], and in 1787 in

Selection of Psalm- and Hymn-Tunes by the Best Authors.

In these collections, Williams deliberately avoided the use of folk and carol melodies, which he found unsuitable for worship; he also discouraged the use of instrumental accompan iment.

Nonconformity continued to be strong in Wales well into the nineteenth century, but the love for hymn- singing grew as much outside church walls as within.

While itinerant music teachers attempted to teach the people methods of learning music beyond the technique of lining-out tunes used by ministers within a worship service, there appears to have been little progress made until additional collections of hymn tunes were published in the 1840s and 1850s.® Unlike the collections of

®D. E. Parry Williams, "Music and Religion," in Music in Wales, ed. Peter Crossley-Holland (London; Hinrichsen Edition Limited, 1948), 53. Williams' bardic name was Pantecelyn (or Pantycelyn).

“Williams, "Music and Religion," 55. According to Rhidian Griffiths, the first textbooks in Welsh on the rudiments of music were not published until 1797. See "Wales' most distinctive contribution: Origins of the Cymanfa Ganu," Yr Enfys 40 (October 1988): 13. 107

William Williams, some later hymn books contained both

foreign and Welsh tunes, including some harmonized folk

melodies; the harmonium was also introduced for

accompaniment.* According to Gwynn Williams,

as soon as the prejudice of the early Welsh Nonconformist preachers and hymn writers against Welsh melodies had been overcome, those airs which were adopted as sacred melodies received a most honoured place in Welsh life.®

The composition of harmonized hymn tunes was popular among

both major compilers and minor musicians associated with

local chapels throughout the country.*

Most notable of the Welsh collections were Richard

Mills' Caniadaeth Selon (1840),^ John Ambrose Lloyd's

Casgllad o Donau (1843) (see appendix C), and especially

leuan Gwyllt's (John Roberts') Llyfz Tonau Cynulleldfaol

(1859). Roberts worked for six years to produce this

hymnal, which appeared in staff notation without texts in

its first printing, and in Tonic Sol-fa notation in 1864.

It contains among its 220 harmonized hymns, 89 from German

sources, 42 from Welsh sources, and 12 from his own pen.®

*The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Wales," by Peter Crossley-Holland.

®W. S. Gwynn Williams, Welsh National Music and Dance, 4th ed. (Llangollen: Gwynn Publishing, 1971), 73.

*Friedrich Blume, Protestant Church Music, a History (New York: W. W. Norton and Co., 1974), 727.

■^See Hartford, "A Good Tune," 66, for more information on this collection.

"Hartford, "A Good Tune," 75. 108

Roberts believed both in worshipful singing and in a high quality of performance within a service; in order to help members of the congregation become better singers, he began the "task of conducting hymn-tune festivals

(cymanfaoedd ganu) [sic] throughout . . . the country."'*

These gatherings, as well as the introduction of the new musical notation system. Tonic Sol-fa, had an influence on choral music in Wales throughout the rest of the century.

The Tonic Sol-fa System

The Tonic Sol-fa system was developed by John Curwen in England in the 1840s, as a result of Curwen's own frustration with staff notation and music theory, and a desire on the part of a Congregationalist Sunday School convention to have a "reliable method of teaching singing."*-® Curwen's appointment to find such a system led him to an investigation of Sarah Glover's Scheme to

*Williams, "Music and Religion," 55. Soon oratorio choruses were added to the gymanfa ganu repertoire, which was to have an effect on the growing interest in eisteddfodau. While Roberts is generally credited with beginning these gatherings called cymanfaoedd canu, non-denominational meetings called cymanfaoedd gerddoral (musical assemblies) and local "musical associations" were already being held in Wales for the purpose of teaching the rudiments of music. See Griffith, "Distinctive contribution," 13.

‘®The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Tonic Sol-fa," by Bernarr Rainbow. Friedrich Blume calls the Tonic Sol-fa system "an educational outgrowth of Nonconformity" (see Protestant Church Music, 728). 109

Render Psalmody Congregational, which Curwen adopted with some revision. His system was enthusiastically received in England not only by amateur groups and singers, but also by many music schools; Curwen, in fact, opened his own Tonic Sol-fa College in London in 1869.** The system was introduced into Wales in the 1860s with the publication of a Tonic Sol-fa handbook by Bleaser

Roberts,*^ and was also soon adopted by the Welsh in

America: it is found in several of the Welsh hymnals used in American churches; it is used in American publications of songs and glees; it was used in Wisconsin in the 1880s at singing schools led by Elmer Davies; it was the favored method for teaching music to the Emporia (Kansas) Choral

Society in the 1880s; and two Tonic Sol-fa magazines were published in America in the 1880s.*® Critics of the

**According to Rainbow, more than 39,000 copies of the Tonic Sol-fa edition of Handel's Messiah were sold by 1890, another indication of the success of the movement. See Rainbow, "Tonic Sol-fa," 65.

*=Griffiths, "Distinctive contribution," 13.

*®Daniel Jenkins Williams, The Welsh Community of Waukesha County (Columbus, Ohio: Hann & Adair, 1926), 281; Sister Mary Veronica Davison, "American Music Periodicals, 1853-1899" (Ph.D. diss.. University of Minnesota, 1973), 445 and 491. The Tonic Sol-fa system is still used by some Welsh musicians in the 1980s: Lloyd Savage of Chillicothe, Ohio, recounts the story of attending harp lessons at a Welsh Heritage Week in the United States where the instructor (from Wales) wrote musical examples in Tonic Sol-fa on the chalkboard, and Patricia Bowers Schultz provides other examples in "A Comparison of the Traditional Welsh Gymanfa Ganu with Contemporary Local American Practices," (D.M.A. diss.. University of Missouri-Kansas City, 1984), 82. A teaching 110 system point out that its failure ever to teach the rudiments of staff notation limits the students' access to repertoire.

The system is based on the notes of the rising major scale, which are represented by the letters d, r, m, f, s, 1, and t (these are based, of course, on the "do, re, mi" syllables). Notes rising above the octave are

indicated by a superscript mark; those falling below receive a subscript mark (see fig. 5). Chromatic notes are represented by a change in the vowel name associated with pitch letters: do sharp becomes "de" and do flat becomes "da." Extended mooulations are announced by a bridge note that receives a double name (for example, a C pitch do would be marked with both a "d" and an "f" in a modulation to the key of G where the C becomes fa); minor keys are related to their relative majors (i.e., the minor tonic is called la).

curwen's rhythmic notation is based on the standard

bar line concept with the addition of colons to separate weak beats within the bar. Secondary accented beats are

shown with a shortened bar line; notes less or more than a

beat in duration receive commas and dashes respectively.

Thus a 2/4 measure would appear as I : I and 4/4 time

"Modulator," an aid for diagramming and "exercising" the notes of a scale is held in the Welsh Museum in Oak Hill, Ohio. Ill would be notated I : ' : I. Pitches that fall on a particular beat are placed between the beat separation marks.

TT i

jcL m tic. 10

D o h F. M o i H Lah. K d :ti :n 1 :b .f n I. li :se. 1, :ti li :1. 1. :D D n :r d :ti d :r d :M L, 1. :n. 1. :s, f, :r. 1. :L C. t Z i" 1 .t:d' .t 1 :e6 |1 n :n 1 " 11" i^se:l .r' d' :t id M ':r :1: .t, d .r :n 11.

Figure 5. Inciplt of the hymn tune "Bangor" in standard and Tonic Sol-fa notation

Welsh Hymnals in America

Among the Nonconformist denominations of Wales, the

Congregationalists, the Calvinistic Methodists (who joined the American Presbyterian church in 1919), and the

‘“•Examples are provided in figure 5 and in appendix D (see "My Blodwen, My True Love"). 112

Baptists all arrived in the United States in relatively

large numbers after the beginning of the nineteenth

century. As early as 1839, there were forty-six Welsh

congregations in the United States, and by 1872 they

numbered over four hundred.*= Many of these churches

continued to hold services in the Welsh language

throughout the century— services that included the singing

of hymns in Welsh. As was the case in Wales, the early

singing was done in unison. According to Daniel Jenkins

Williams :

Hymn books at first were very scarce and the leader, preacher or elder, used to "line out" the hymns, lining out a couplet at a time. Among early songbooks issued for use in the churches, and indorsed [sic] by the gymanvas, [sic] were: 'Caniadau Seion' ('The Songs of Zion'), 1847; [and] 'Y Drysorfa Gerddorol' ('The Musical Treasury'), 1857 . . .

Williams states further that harmonized congregational singing became the norm after mid-century:

Congregational singing was an important feature in these Welsh assemblies. Local choruses rehearsed the hymns beforehand and led the vast assemblies in the congregational singing. The four parts— soprano, alto, tenor, and bass— could always be heard well balanced throughout the vast congregation as well as in the selected choir.

*=Schultz, "A Comparison," 20.

**Edward G. Hartmann, Americans from Vales (Boston: Christopher Publishing, 1967), 101.

"•■^Daniel Jenkins Williams, One Hundred Years of Welsh Calvinistic Methodism in America (Philadelphia: Westminster Press, 1937), xx and 142. 113

Immigrants brought some hymnals with them on the trek to

their new homeland, but some Welsh hymnals were printed in

the United States at least as early as 1808.*“

Nearly one hundred copies of thirty-six Welsh and

Welsh-American hymnals from the nineteenth century have been located in museums, libraries, and private collections in Pennsylvania, Ohio, Wisconsin, Kansas, and

New York, and in the Americana Collection of the National

Library of Wales (see appendix E for the thirty-six

individual titles). Included among them are hymnals published in Wales (Dinbych, Wrexham), in England

(London), and in the United States (Youngstown, Utica,

Chicago) throughout the nineteenth century. There are some English texts in many of the hymnals, but the vast majority are in Welsh. Many of the hymnals contain only the texts of hymns (as was common in the nineteenth century), but those that contain music, some utilizing the

Tonic Sol-fa system, included two-, three-, or four-part harmonizations.

From this assortment of thirty-six hymnals, eleven containing notated music were selected for further study.

The selection was based on the number of copies of a given hymnal found in Pennsylvania, Ohio, Wisconsin, or Kansas;

‘“Henry Blackwell, A Bibliography of Welsh Americana, 2nd ed. (Aberystwyth: National Library of Wales, 1977), 59 . 114 the number of books found in each state is roughly proportional to the size of the Welsh population of that state. Since many of the hymnals in this group are likely to have been used in other states as well, these books can serve as examples of Welsh hymnals used in America during this period.

Caniadau Seion sef Casgliad Donau (Songs of Zion, Namely a Collection of Tunes), Utica; Roberts, 1847.

♦Compiled by Richard Mills; non-denominational

*292 hymn tunes and anthems; many compositions by Mills, others by Billings, Luther, Mozart, Haydn, and Handel, many minor Welsh composers represented

*2 to 4 parts, separate staves; single text line running between the two lower staves

Y Drysorfa Gerddorol (The Treasury of Music), Rome (N.Y.): Meredith, 1857.

♦Compiled by Hugh J. Hughes; non-denominational

♦nearly 375 hymn tunes and about 30 anthems; "American composers" include L. Mason, J. P. Jones, and W. A. Powell; "Foreign composers" include Bach, Handel, Haydn, Mozart, J . A. Lloyd, Richard Mills, and E. Stephen^*

♦•This 1847 printing is probably related to the 1842 edition done by Mills in Wales, which included an appendix of tunes additional to those in the original 1840 edition. See Hartford, "A Good Tune," 66. According to Nicholas Temperley, the parts from the top of a four-part setting would read TASB by 1847. See Music of the English Parish Church, Volume 1 (Cambridge: Cambridge University Press, 1979), 187. The inclusion of some 2- and 3-part settings is likely indicative of choral ability at this time, which was prior to the beginning of the gymanfa ganu movement.

^•Notice the inclusion of Welsh and Welsh-American composers. Jones was from Racine and Powell was from Scranton. 115

*4 parts on separate staves in TASB order; text placed between the S and B staves; figured bass provided

Llfyz Tonau ec Emynau (Book of Tunes and Hymns), Wrexham: [1868].

♦Compiled by J. D. Jones and Edward J. Stephens (Tanymarian); Congregational

♦nearly 200 tunes; tunes from the Scotch Psalter, Ravencroft's Psalter, L. Mason, J. Clarke, T. Tallis, Handel, Mozart, Mendelssohn, Luther, J. A. Lloyd, A. Reinagle, J. B. Dykes, and by the compilers; twelve tunes are called "Welsh tunes"

♦4 parts on two staves at top of page; text printed at bottom of page; Tonic Sol-fa in 1869 edition

Llyfz Tonau Cynulleidfaol (Book of Tunes for the Congregation), Wrexham: 1872 and 1876.

♦Compiled by John Roberts; Calvinistic Methodist

♦220 hymns; 89 from German sources, 42 from Welsh sources, 12 by Roberts

♦4 parts on 2 staves; no texts; available in Tonic Sol-fa in 1863=1

Blodau Paradwys (Flowers of Paradise), Chicago: 1880.

♦Compiled by John Roberts; non-denominational gospel hymns==

= ‘Welsh-Amerleans could order Llyfr Tonau by mail through the newspaper Y Drych in 1863.

==In this hymnal containing revival and gospel music, many of the texts were originally written in English (according to Lloyd Savage), but are here translated into Welsh. A substantial number of these pieces have a chorus or refrain section and are in compound meters, traits common in late nineteenth-century urban gospel hymnody. This book contains relatively few of the twenty-six most frequently published hymns as discussed later. (Roberts also produced a gospel hymnal in Wales; see appendix C.) 116

*137 hymns; composers not identified

*4 parts on 2 staves; texts between staves

Hymns and Tunes in Welsh and English, Philadelphia; Sower, Potts, and Co., 1884.

♦Compiled by E. T. Griffith*®; non-denominational

*202 hymn tunes and five "congregational" anthems; much similarity in content to Llyfr Tonau ac Emynau described above

*4 parts on 2 staves at the top of the page; Welsh and English texts are side-by-side at the bottom of each page

Cor Drysor y Bedyddwyr (Choir Treasure for Baptists), Youngstown: 1887.**

♦Edited by David Thomas; Baptist

*212 tunes; European tunes by Bach, Mendelssohn, and Mozart; Welsh tunes by Parry, Gwyllt, and Stephens; American tunes by Mason, Reinagle, and Holden; and 41 tunes by "Welshmen in America"; the compiler did many of the arrangements

*4 parts on 2 staves; Welsh and English texts printed below or on facing page; Tonic Sol-fa notation included

Cor Drysor Amerlcanaldd (American Choir Treasure), Utica: Griffiths, 1891 and 1895.

♦Compiled by D. S. Thomas; non-denominational

**Griffith compiled this hymnal, for parishioners who did not speak Welsh, as a companion to other Welsh- language hymnals already in use. He sought advice from Edward Stephens and Joseph Parry in his selection and arrangement of tunes.

**The original edition was printed so poorly that a new edition, done in Utica, was offered to purchasers at no additional cost. See Blackwell, Bibliography of Welsh Americana, 79. 117

*247 tunes; similar to Cor Dzysoz y Bedyddwyz in content*®

*4 parts on 2 staves; Welsh and English texts printed below or on facing page; Tonic Sol-fa notation included

Caniedydd Cynulleidfaol (Songs for the Congregation), London: Union of Welsh Independents, 1895.

♦Compiled by a committee of Independents (Congregationalists)**

*300 hymn tunes, 30 chants, 27 anthems; European composers: Purcell, Mendelssohn, and Handel; Welsh- American composers: Emlyn Evans and Joseph Parry; Welsh composers: Gwyllt and Lloyd

*4 parts on 2 staves at the top of the page; 960 texts (mostly Welsh) on the bottom or on facing page; Tonic Sol-fa notation in some printings

Hymnau a Thonau (Hymns and Tunes), Chicago: R. H. Meredith, ca. 1897.

♦Compiled by Meredith; non-denominational

*312 tunes including 26 gospel hymns*’'; Welsh and

*=*This is essentially an enlargement of the Baptist hymnal (in fact, the same printing plates were used); changes were made to accommodate differing Protestant beliefs about baptism. This hymnal was advertised heavily in the Welsh-American newspaper Y Dzych in 1891.

®*D. Emlyn Evans was a member of the editorial committee, see appendix C. Hartford reports that 12,700 traditional notation copies and 58,000 Tonic Sol-fa copies of this hymnal were sold (see "A Good Tune," 97).

*^The gospel hymns (some with English texts, some with Welsh) are all located in the back, following scriptural readings and a section of English hymn texts that can be used with tunes found earlier in the book. Several of the gospel hymns are titled by the first line of the text or the refrain rather than the tune title, i.e., "Rescue the Perishing," and they are not provided with Tonic Sol-fa notation. 118

Welsh-American composers: Lloyd, J. P. Jones, and Parry; American composers: Mason, Bradbury, Bliss, Lowry, and Gottschalk; European: Dykes, Rossini, Mendelssohn, Sullivan, Haydn, von Weber.

*4 parts on 2 staves; text in a variety of places; Tonic Sol-fa included under each staff

Llyfz Hymnau a Thonau y Methodistlaid Calfinaldd (Book of Hymns and Tunes of the Calvinistic Methodists), Caernarfon: 1897**.

♦Edited by John Henry Roberts (Pencerdd Gwynedd); Calvinistic Methodist

♦Nearly 500 tunes, 25 anthems, 50 chants; inclusion of melodies by a wider variety of European composers Wagner, Schein, Beethoven, Sullivan, Hassler

♦4 parts on 2 staves; 955 Welsh texts printed below or on facing and subsequent pages, 23 English texts in the back; also printed in Tonic Sol-fa editions

These hymnals reflect several of the general trends in hymnody in Great Britain and America in the second half of the nineteenth century.** The two earliest hymnals are clearly related to the singing-school tradition that existed in England, Wales, and America in the nineteenth century in their "longboy" format, inclusion of music rudiments, and imitation between vocal parts, although

**The influence of leuan Gwyllt (John Roberts) is indicated by the inclusion of his 1859 Llyfz Tonau "Introduction" in the "Preface" of this 1897 hymnal. Hartford reports that at least 11,000 copies of this hymnal in standard notation and 50,000 copies in Tonic Sol-fa notation were sold (see "A Good Tune," 98).

**W. Glanffrwd Thomas claims that Caniedydd Cynulleidfaol and Llyfz Hymnau a Thonau y Methodlstiaid Calfinaidd are "very Welsh"; see A Dictionazy of Hymnology, 2nd ed. (1957), s.v. "Welsh Hymnody." 119

neither of them make use of the shape-note systems popular

in America then. These same hymnals contain a repertoire

different from that of the hymnals that were published

later;®" despite the noteworthy inclusion of tunes by

Billings in Canladau Seion, the early hymnals emphasize

minor composers of Welsh heritage. Caniadau Seion and

Drysorfa Gerddorol also contain the most tune variants

among the most frequently published hymns (see appendix E

and appendix F).

The hymnals compiled between 1868 and 1880 reflect

the current trends in hymnal publication of that time,

i.e., the vertical arrangement of the pages (as opposed to

longboy format), the separation of text and tune, the

chordal style of the settings, the placement of the four

parts on a grand staff for use at a keyboard, the use of tune names as titles, the use of the half-note as the counting unit, and a prevalence of books for a specific denomination. The separation of text and tune on the page, and the close proximity of tunes of like text meter and of several compatible texts for a given tune indicate a concern for the text at the expense of the ease of musical use that continued for many years.

®"The two early hymnals contain the fewest of the twenty-six most frequently published hymns described in appendix F. 120

In this second group there is more interest in the

compositions of classical European composers and

contemporaneous Welsh-American composers; the inclusion of hymns by Lowell Mason and William Bradbury shows an awareness of the American hymn movements they led, and the

inclusion of hymns by John Dykes shows an awareness of the

Victorian hymn movement in England.=* Compilers of hymnals both in Wales and the United States recognized the

popularity of the Tonic Sol-fa method of instruction and

included it in their editions.

The later hymnals (after 1880) display a wider variety of hymn tunes from England and continental Europe, more emphasis on music of composers such as P. P. Bliss

(American gospel movement), and a substantial number of tunes by late nineteenth-century Welsh-Amerleans (many of them contributors to eisteddfod and St. David's Day repertoire as well). The inclusion of chants in at least

two of the hymnals shows that there were still certain

ties to the Anglican church. These later hymnals are also

true to the standards of their time In matters of text

placement (between the treble and bass staves) and title

origin (taken from the first line of text or refrain

rather than the name of the tune), in the preference for the quarter-note as the counting unit, and in

®*The New Grove Dictionary of American Music, s.v. "Hymnody," by Paul C. Echols. 121 discontinuing the use of double bar lines between phrases.“ The hymnals also reflect a growing preference among Welsh-Americans for singing hymns with English texts, though all of the hymnals show that the compilers are interested in maintaining a certain amount of

"Welshness" without ignoring contributions from America and Europe.

Hvmns Sung by Welsh-Americans

The eleven hymnals described above contain approximately twelve hundred different hymn tunes. There are twenty-six tunes that appear in at least eight of the eleven hymnals, a group that will serve as a cross-section

of nineteenth-century Welsh-American hymnody.(See appendix F for a list of the hymns, their incipits, and a

®*Temperley, Music of the English Parish Church, 306.

"Richard Crawford comments in the Preface of The Core Repertory of Early American Psalmody (Madison: A-R Editions, 1984), ix and xi: "the group of pieces included in this Core Repertory registers at least one measure of the musical preferences of an earlier age" but goes on to say that "if one puts his trust entirely in numbers, he may well find himself making a distinction as decisive as that between the quick and the dead— between, for example, tunes printed forty-four times and tunes printed forty- three times, the former being canonized in the Core Repertory, the latter consigned to loser's oblivion." However, "the advantages of identifying a central, representative core of tunes for observation, analysis, and interpretation should outweigh reservations about the way they have been chosen." Two tunes contained in Crawford's "Core Repertory" also appear among those frequently published in nineteenth-century Welsh hymnals— "Bangor" and "Old Hundred." 122 structural description of each, and appendix E for a listing of printed sources of each hymn.)

A substantial number of the tunes in this group come from non-Welsh musical sources. Those of non-Welsh and non-American background include "Bangor," by William

Tans'ur; "Verona," an Italian tune; "French," published in the Scottish Psalter of 1615; "Old 100" (or "Hen Ganfed"), attributed to Louis Bourgeois; "Hursley," from the

Katholisches Gesangbuch of 1774 and based on a tune by

Mozart; "Llydaw" (or "Breton," an area on the northwest coast of France); "Malvern," an English tune; and

"Wareham, " printed by William Knapp in 1738.®'*

"Boston" (1824) and "Missionary" (1823) are the only

American compositions included on the list; both are from the pen of Lowell Mason. Mason's influence on the music of the United States is well known; his hymns must have achieved a certain amount of popularity in Wales as well,

for both of these tunes are contained in Llyfr Tonau ac

Emynau, published in Wrexham, Wales, in 1868.

^'♦Background information on the hymns was obtained from several sources; Hartford, "A Good Tune"; Thomas, "Welsh Hymnody"; Williams, Welsh National Music; Katharine Smith Diehl, Hymns and Tunes, an Index (New York: Scarecrow, 1964); The Hymnal 1949 Companion, 3rd ed. (New York: Church Pension Fund, (ca. 1949]); Companion to the Hymnal (Nashville: Abingdon, [ca. 1970]); Robert McCutchan, Hymn Tune Names (New York: Abingdon, 19 57). 123

The remaining tunes in the sample of twenty-six are from Welsh sources, the majority of them outside the mainstream of Welsh composition; J. A. Lloyd is the only

Welsh composer of renown represented in the group.

"Hursley," adopted from a melody by Mozart, is the only tune among the twenty-six derived from a well-known

European composer, though such pieces are frequently included in the hymnals described above; and works from one of the most important hymn writers from mid- nineteenth-century England, John Dykes, are also missing.

The inclusion of two tunes by the American Lowell Mason is therefore particularly significant.

The tunes from Wales can be divided into two groups— those based on national airs, and those identified with a particular composer. The origin of "Cysur," "Edinburgh,"

"Moriah," and "Salome" is not known, but each is listed as a Welsh tune in several hymnals. "Joanna" (also known as

"Rowlands," "St. Denio," and "Palestlna") is thought to be based on the ballad "Can Mlynedd i "naur" ("A Hundred

Years from Now"), written about 1810; it appeared as a hymn tune in John Roberts' Canladau y Cyssegr in 1839.*®

"Llantrisant" is a version of the Welsh folk song "Mel

*®Hartford, "A Good Tune," 129. 124

Wefus,”** and usually appears in a major key when used with a hymn text despite the minor mode of the folk song.

Among the pieces identified with a particular Welsh composer are "Caersalem," "Dorcas" ("Llangeitho"), and

"Dyfrdwy," often listed as Welsh airs or folk songs, but now credited to Robert Edwards (1796-1862), David John

James (1733-1821),»^ and John Jeffries (1718-89), respectively. "Dymuniad" was composed by Robert Herbert

Williams and first published in Y Drysor fa in 1835.®**

"Eifionydd" was one of several hymn tunes composed by J .

Ambrose Lloyd (see appendix C), who also contributed anthems to the eisteddfodic repertoire; "Erfyniad" was composed by Robert Williams of Rhydymain (b. 1795).

Robert Williams of Llanfechell (d. 1821) is given credit

for the composition of "Llanfair," first published in 1837 and sometimes called "Bethel." "Meirionydd" (also called

"Berth"), by William Lloyd (1786-ca. 1850), was first published in Canladau Seion in 1840; "St. Stephen"

("Nayland"), composed by William Jones, was published

initially in 1789. The tune "Wyddgrug," another of the contributions by J. A. Lloyd (who composed it at age

®^Williams, Welsh National Music, 77.

®^Ibid., 76.

“"Hartford, "A Good Tune," 106. 125 sixteen), was published first in Caniadau Seion in 1840.

The tune, described as a "spritely dance,” originally included a "snappy statement-and-answer exchange between the voices in its concluding phrase," but this was later rewritten. The original range for the soprano melody extended beyond that of most hymns to a high G.**

There is considerable variety in the sources and dates of origin of the hymns, and in their structure, range, and text meter (see appendix F).** The settings of the hymns follow the modern practice of using major and minor key signatures that do not exceed three flats or three sharps (except for "Missionary," by Lowell Mason, in the key of E Major). Triple and duple musical meters are consistently used throughout the group; there are no examples of compound meters such as can be found in the gospel hymns contained in some of the hymnals.

^•Hartford, "A Good Tune," 148.

'*®Carlton Jones Lake has attempted to summarize some aspects of the harmonizations of Welsh hymnody in his "A Survey of the Music and Music Festivals of the Welsh" (D.Mus. diss., Philadelphia Conservatory of Music, [ca. I960]), 168. However, he seems to have analyzed only one harmonization for each of the twenty-one hymns he selected. Among the eleven hymnals searched for this study, there are several harmonizations for each hymn, making it impossible to reach general conclusions about the preferred harmonizations. 126

In describing Welsh airs that became hymn tunes,

Gwynn Williams states that most older Welsh tunes were in triple meter. This is true of four of the six arrangements of Welsh airs in the group analyzed here.

Williams also claims that

many of the melodies have not the scalic and rhythmic wildness of some of the secular folk songs, but this was only to be expected to some extent when congregational harmony [i.e., in major and minor modes] was introduced, and the tunes were moulded to certain recognized hymn metres and made to carry different sets of words.**

The Welsh airs included on the list do not reflect the

"flexibility in rhythm and form" found by Mary Philips any more than composed or non-Welsh examples do.*®

Hvmns at Cvmanfaoedd Canu and Eisteddfodau

While competitions occasionally included hymns as contest pieces in certain categories (perhaps to encourage small choirs, youth groups, elderly participants, and inexperienced soloists), few of these twenty-six hymn

**Williams, Welsh National Music, 74.

*®Mary K. Philips, "A Study of the Sources of Welsh Music in America" (M.A. thesis, Claremont Graduate School, 1948), 48. Philips found (in a sample of ten hymns) that hymns derived from Welsh airs had an irregular number of measures per phrase. But those hymns based on Welsh airs included in the small sample in appendix F are 16 measures, 12 measures, 8 measures, 32 measures, and 24 measures long, and there seems to be little irregularity in their phrase lengths. 127, melodies were selected to be contest pieces at nineteenth- century eisteddfodau, indicating that more difficult or less familiar tunes than these were chosen for competitions. Some of the competition hymn tunes were

"Diniweidrwydd" (based on a Welsh tune), used in Kansas in

1876; "Tal y bont" or "Alexander,” used in Ohio in 1876; and "Moab" by leuan Gwyllt and "Aberystwyth" by Joseph

Parry, both used in Pennsylvania in 1898.*=

The list is similar, however, to a list of those hymns known to have been sung at nineteenth-century

American cymanfaoedd canu and concerts. "Moriah" was sung by the audience at the Chicago World's Fair Eisteddfod of

1893 and by the congregation at a concert in Wisconsin in

1898. "Bangor," "Boston," "Caersalem," "Dymuniad,"

"Edinburgh," "Eifionydd," "Malvern," and "Wareham" were among the tunes sung at a gymanfa ganu in Pennsylvania in

1883. It seems likely that the twenty-six tunes in the list were musically accessible to the average

*=See chapters I and II regarding cymanfaoedd canu in Pennsylvania, Ohio, Wisconsin, and Kansas. See also chapter V regarding the influence of Welsh hymn singing in America. The settings of "Alexander" and "Diniweidrwydd" in Y Caniedydd Cynnulleldfaol reflect a wider range within voice parts and a greater number of accidentals (respectively) than those on the list as being most frequently published. "Aberystwyth" was still relatively new, having been composed in 1879. 128 congregational singer, while those selected for contests were more musically challenging.

Nineteenth-Century Welsh Hvmns in the Twentieth Century

The list of twenty-six hymns published most frequently in the nineteenth century differs from lists of popular or "favorite” hymns of twentieth-century Welsh-

Amer icans provided by other writers. "Aberystwyth" and

"Dies Irae" (both by Joseph Parry), "Bryn Calfaria,"

"Calon Ian," "Ebenezer" ("Ton y Hotel"), "Maesgwyn,"

"Montgomery" (by the gospel writer Woodbury), "Rachie,"

"Rhydygroes," "Tanymarian," and "Trewen" (by Emlyn Evans) were frequently sung at American cymanfaoedd canu in the

1940s'*'* but are not found on the list of nineteenth- . century hymns. Only seven tunes from the nineteenth- century sample appear in the Golden Jubilee Edition Hymnal of the Welsh National Gymanfa Ganu Association from 1979:

"Bangor," "Caersalem," "Joanna," "Llanfair," "Malvern,"

"Moriah," and "Hen Ganfed" ("Old Hundred"). In a "list of often-mentioned favorite hymntunes" of the 1980s, Patricia

Bowers Schultz suggests "Cwm Rhondda," "Diadem,"

"Blodwen," "Penpark," "Rachie," "Aberystwyth," and "Bryn

'Philips, "Sources of Welsh Music," 25, 129

C a l f a r i a . Again, none of these are found on the list

of nineteenth-century tunes. While it is not surprising

that some of these titles do not appear as favorites of

the nineteenth century, since they were composed late in

that century or after 1900 ("Cwm Rhondda" was written in

1907), it is apparent that tastes have changed over

several decades.

Among the twentieth-century hymn-favorites in Wales,

on the other hand, are a number of nineteenth-century

Welsh-American choices. According to Lincoln Hartford, among the twenty-seven "tunes that are sung commonly in

Wales today" eight are included on the list of twenty-six important in nineteenth-century America:

"Dymuniad," "Eifionydd," "Joanna," "Llanfair,"

"Llantrisant," "Merionydd," "Wyddgrug," and "Yr Hen

Ganfed.

Neither composed nor adapted Welsh hymn tunes found their way readily into non-Welsh hymnals of the nineteenth century. A search of ten available Protestant hymnals

(including at least one Presbyterian, one Methodist, one

Baptist, and one Congregational example) dating from 1858 to 1904 did not reveal any of the tunes mentioned above.

*Schultz, "A Comparison," 57.

•Hartford, "A Good Tune," 95. 130

A non-denominational hymnal dated 1906 does include

"Harlech,” which is listed as a "Welsh melody." Two

Congregational hymnals from the time of World War I

include an adaptation of the Welsh air "Ar Hyd y Nos"

("All through the Night").

In non-Welsh hymnals of a later date, Welsh hymn tunes began to be included with greater regularity. Mary

Philips found that in the 1940s "Aberystwyth," "Ar Hyd y

Nos," "Meirionydd," and "Ton y Botel" were located in a variety of denominational hymnals, and Lloyd Savage has found that twelve Welsh hymn or folk tunes will be

included in the new United Methodist Hymnal to be published in 1989, including "Cwm Rhondda," "Llangloffan,"

"Hyfrydol," and "Ebenezer" ("Ton y Botel"

*^Philips, "Sources of Welsh Music," 155; Lloyd Savage, "Welsh Hymn Tunes Well-Represented in New United Methodist Hymnal," TMs, Savage's possession, Chillicothe, Ohio. CHAPTER V

WELSH IMPACT ON AMERICAN MUSICAL DEVELOPMENT

Welsh-Amerlean musicians, collectively and

individually, have had significant influence on music in

the public schools of America. The most noteworthy connection is the one between the Welsh eisteddfod and the public school spring music contests that are still considered an important part of public school music curricula. According to Frank A. Beach, formerly the head

of music in the public schools of Emporia, Kansas, and at

the Kansas State Teachers College of Emporia;

In the field of school music the music contest boasts an ancient ancestry in that it owes its immediate inspiration to the Eisteddvod [sic]. The Welsh miners who settled in the Middle West prior to the Civil War brought with them their love for music, and they instituted Eisteddvods in several centers. One of these was Emporia, Kansas. This ceased about 1890, but its influence persisted. Some sponsors of the Kansas Eisteddvod became music supervisors in the public schools. As the Welsh children went into the schools, music became a part of the annual county contest which included athletics and declamation. The discontinuance of the Eisteddvod in the state furnished the inspiration and occasion for the organization in 1912 of the first contest devoted to music in the public schools and now designated as the All-Kansas Music Competition Festival.*

*Gomer Williams, "An Outline of the History of Music in Emporia, Kansas 1858-1938" (M.S. thesis, Kansas State Teachers College of Emporia, 1939), 58. Beach recalled 131 132

An article in the Emporia Gazette of 8 April 1937 claims that the contest was "the first competition of its kind in the United States," and that "since then, this festival has served as a pattern for similar events in almost all states in the Union."* A rating system for contestants, inaugurated in 1929, involved numerical ratings (from I to

VII) that are much like the present judging system, in which any number of contestants can receive a first-place rating.

The correlation between Welsh eisteddfodau and public school contests can be seen in Ohio as well. In Jackson,

Ohio, an eisteddfod tradition was revived beginning in

1922 under the auspices of the Southern Ohio Eisteddfod

Association. Competitions were held almost annually until the late 1930s, when they began to be called the Jackson,

Ohio, School Eisteddfod. This later developed into competitions sponsored by the State's music education

the date of the first contest incorrectly; it was held in 1915. See The New Grove Dictionary of American Music, s.v. "Beach, Frank A , " by George Heller.

^Williams, "An Outline," 59. The University of North Dakota lays claim to the second statewide choral festival following the idea of Beach and the Emporia Welsh. See Mary K. Philips, "A Study of the Sources of Welsh Music in America" (M.A. thesis, Claremont Graduate School, 1948), 98. Public school contests among bands began about 1923 according to Noreen Diamond Burdett, "The High School Music Contest Movement in the United States" (D.M.A. diss., Boston University, 1985), 2. 133 department.* Some of the school contests (such as those held at Shawnee High School of Lima} continued to be called eisteddfodau, even among non-Welsh students, into the 1940s.

This influence of the Welsh eisteddfod on music contests also extended beyond the public school. In the late nineteenth century, the Catholics of eastern

Pennsylvania sponsored singing contests, following the lead of their Welsh neighbors (see chapter I). Welsh-

American composer Daniel Protheroe provides examples of similar influence after the turn of the twentieth century:

While these gatherings [contests] hitherto have been largely determined by the distinctive national characteristics of the people who manage them, yet the Eisteddfod, in particular, is being taken up by Americans in general, especially in districts adjacent to those where the Welsh predominate. As an example of this there was an Eisteddfod, or more correctly, perhaps, a competitive musical festival, held at Richfield Springs, N.Y., in September, 1908. Excellent prizes were given for choral singing . . . The officers were all Americans. . . . Nevertheless, through the help of some Welsh people from Utica, the festival proved very successful.*

Protheroe claims further that another non-Welsh contest

began to be sponsored by the Arion Club of Brooklyn, New

*Carlton Jones Lake, "A Survey of the Music and Music Festivals of the Welsh" (D.Mus. diss., Philadelphia Conservatory of Music, [ca.l960]), 207.

*Daniel Protheroe, "The Influence of the Welsh and the German in American Choral Music" in Studies In Musical Education History and Aesthetics, 3rd series. Papers and Proceedings of the M.T.N.A. (n.p.: the Association, 1909), 241. 134

York, after their director Arthur Claasen attended an eisteddfod in Scranton.

The influence of individual Welsh-American musicians on the community In which they lived cannot be ignored.

In each state under investigation the names of prominent

Welsh leaders (in addition to the composers and adjudicators discussed in previous chapters and in appendix C) continually surface among the names of musicians who served in various communities as conductors and as music educators. In Scranton, Pennsylvania, Dr.

David E. Jones, who earned a B.M. from the University of

Toronto, played a variety of roles in the musical life of the city: he served as music critic for the Sczanton

Tribune for many years beginning in the 1890s, founded the

Taylor Symphony Orchestra, directed a local church choir, and supervised music in the public schools of Taylor (a suburb of Scranton) from 1912 to 1938.= Fellow

Pennsylvanian John P. Thomas (1842-1907), who was born in

Wales but emigrated to the United States in 1869, is remembered among those of Welsh heritage in Plymouth,

Pennsylvania, as a choir director, composer, and first

Director of Music in the Plymouth Public Schools.* In

“Margery Morgan Lowens, "Welsh Musical Traditions of Northeastern Pennsylvania," TMs, Lowens' possession, Baltimore, MD.

*"One Hundredth Anniversary Celebration," Printed Program and History, Clipping file, Osterhout Free Library, Wilkes-Barre, Pennsylvania. 135 central Pennsylvania, Welshman H. H. Hughes began to teach a singing school in Ebensburg beginning in December 1867.

It was then announced that the first class having been a success, a second class would begin soon for the cost of one dollar per student. The newspaper reference does not imply that this class was open only to those of Welsh background.^

In the Welsh settlement of Radnor, Ohio, Owen H.

Evans, a native of Wales, conducted singing schools and led the town band in the 1880s. In a list of the names of the fourteen members of the Cornet Band of Corner, Ohio, of the 1890s, many of the players' last names reflect Welsh heritage--Evans, Griffiths, Jones, Roberts, and Davis.

Just after the turn of the century. Rev. James A. James founded the Radnor Choral Society, which consisted of both

Welsh and non-Welsh singers."

The musical culture of Racine and Chicago was positively affected by the career of John P. Jones, well regarded as a composer and editor of hymns (his "Congress" and "Eva" were sung in Chicago in 1893 at the World's Fair

Eisteddfod, see chapter II). Jones also conducted the

Racine Brass Band in 1849, organized the Welsh Choral

"^Cambrian Freeman (Ebensburg), 27 February 1868.

•Mary Rodman Swickheimer, History of Radnor Township^ Delaware County, Ohio (published by the author, 1972), 101 and 104. 136

Union of Racine, sang in the popular Male Quartet associated with the Choral Union, and served as an adjudicator at several eisteddfodau.*

D. 0. Jones, whose training was completed at the

Tonic Sol-fa College of London, England, had a lasting

Impact on the music history of Emporia, Kansas, retiring in 1918 after twenty-eight years as supervisor of music in the city school system. In addition to his work as a music teacher, he served as the conductor of the Emporia

Choral Society for several years; under his leadership, that ensemble won many eisteddfod competitions, including the mixed choir category at the Hutchinson State Jubilee in 1894 and 1895. Jones travelled around the midwest to adjudicate various eisteddfodau, including those in Denver in 1892; Oskaloosa, Iowa, in 1894; and Bovier, Missouri, in 1900.1* Another Kansan, W. Rhys-Herbert, supported musical endeavors in Emporia in the early 1890s through the organization of a singing society, participation as a singer in concert events, and composition and arranging. “

■•Daniel Jenkins Williams, The Welsh Community of Waukesha County (Columbus, Ohio: Hann and Adair, 1926), 227.

‘•Williams, "An Outline," 30.

“ The Gazette (Emporia), 26 December 1892. W. Rhys- Herbert is likely William, who arranged and composed music for the J. Fischer & Bros. Co. of New York throughout the first two decades of the twentieth century. Rhys- Herbert 's music shows both Welsh and German Mânnerchor influence. His cantata Bethany with words by William Ap Madoc was performed in Scranton in 1926. 137

There are other stories of individual Welsh-Americans who played a role in the musical development of those they taught, judged, or conducted. The influence of these musicians was felt by all those who participated in singing schools and public school music programs, the

Welsh and non-Welsh singers who joined together in eisteddfodic competitions, and those who listened as audience members at Welsh musical events.

Several choirs were formed specifically to participate in eisteddfodau (see chapters I and II). In certain communities these ensembles out lasted the eisteddfod tradition and began to accept non-Welsh members. The Lima (Ohio) Choral Society provides a typical example of the lasting influence of Welsh customs on choral music in the community. The group, founded as the Lima Choral and Music Club in 1875 to enter the

Delphos eisteddfod, changed its name to the Lima Choral

Society after its success at that event. The Society had two purposes; to perform sacred music (usually oratorios) and to compete in eisteddfodau.In the 1890s, the

Society began to sponsor recitals of vocal and instrumental music, and to sell public memberships to concert events under their sponsorship. After the beginning of the twentieth century, the Society (under the

iziiVocal Music," The Allen County Reportez 35, no. 4 (1979): 99. 138 direction of Welshmen Hugh Owens and, later, Mark Evans) sponsored May Festivals (featuring guest artists),

"Popular Concerts," and occasional eisteddfodau. The

Society experienced some lean years and ceased to host eisteddfodau in the 1940s, but remained active until

1 9 6 8 .1=

The Scranton Oratorio Society performed a variety of large choral works throughout the first two decades of the twentieth century under the direction of John T. Watkins.

Watkins' successor as the leading choral director of the area was another Welshman, David Jenkins, who led the

Choral Union of South Scranton, the Hickory Street German

Presbyterian Choir, and the Scranton Junger

Mânnerchor(!).!* These ensembles joined together in 1926 for a performance of Handel's Messiah.

Other choral concerts were presented for the community at large by the Welsh-dominated Arion Club of

Milwaukee. According to Daniel Protheroe:

natives of the little principality [of Wales] have been prominent in the management of the chorus since its organization thirty-one years ago [ca. 1877], and at present the conductor and treasurer are native- born Welshmen, while the secretary was born in Milwaukee of Welsh parents. So it can be readily seen that in one city, at least, the Welsh population

i=Ibid., 104.

**D. E. Jones, "Music in Lackawanna County," in History of Lackawanna County, Pennsylvania (Topeka: Historical Publishing, 1928), 343. 139

has been of great benefit, and an impetus in the cause of choral music.*-®

The beginnings of the Salt Lake Mormon Tabernacle

Choir also reflect Welsh influence, for Welsh convert John

Parry was appointed first choir leader of the Mormons of

the Salt Lake Valley in 1849.** The Mormons and Welsh-

Americans were also linked when the Tabernacle Choir, under the direction of Evan Stephens, participated in the

World's Fair Eisteddfod of Chicago in 1893, and again in

1895 when T. J. Davies and Hayden Evans of Scranton travelled to Salt Lake City to judge an eisteddfod. The concluding eisteddfod concert was held in the

Tabernacle.

In the twentieth century, folk-song arrangements of

Welsh airs continued to be sung in American public schools and printed in community song books, and some hymn tunes composed by Welsh-Americans continued to be important in both Welsh and non-Welsh American Protestant churches. It

*®Protheroe, "The Influence," 242.

**The New Grove Dictionazy of American Music, s.v. "Church of Jesus Christ of Latter-day Saints," by Roger Miller.

*■^1895 Scrapbook, Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania. Protheroe claimed in 1908 that the Welsh were also instrumental in the founding of the "Philharmonies" of Utica; the Philharmonic Club of Minneapolis; the Harmonic Society of Cleveland; and the community chorus of Ocean Grove, New Jersey. See Protheroe, "The Influence," 245 and 246. 140 does not appear, however, that the majority of the nineteenth-century Welsh and Welsh-American composers of anthems, glees, choruses, and part songs had a lasting

influence on performance repertoire in America. The exception is Daniel Protheroe, whose name is found frequently among those composers whose vocal compositions and arrangements were required for performance at American public school contests in the late 1920s and into the

1940s.However, a detailed study of eisteddfodau, contests, and concerts of the twentieth century

(especially those connected with public schools) is needed to determine how long and how often the music of Parry,

Protheroe, Jenkins, and others continued to be performed.

It would be interesting to know if their works remained in the repertoire longer in communities where the Welsh influence remained the strongest, and what type of music replaced that of Welsh background. Perhaps the interest in most of this nineteenth- and early twentieth- century

Welsh music simply went the way of the eisteddfod tradition itself by the mid-twentieth century. A program from the One Hundredth Anniversary Eisteddfod of the

^"Burdett, "Contest Movement," 182. See also Proceedings of the M.T.N.A. and the Music Supervisors National Conference for various years. As further information comes to light, it may be found that another composer of Welsh-American heritage, W. Rhys-Herbert, had considerable influence on American choral music in the twentieth century. 141

Dr. Edwards Memorial Congregational Church of

Edwardsville, Pennsylvania (the location of one of the very few regularly scheduled eisteddfodau continuing in this century), held on 22 April 1989, specifies only one

Welsh tune, "All Through the Night," among the test pieces

in competition categories for young singers. (Since adult singers entered in the competition were allowed to select their own test piece, no titles were provided for their categories.)**

Welshmen in America were involved in the publication of both music and music journals, as well as in music merchandising. T. J. Evans ran the music store in Osage

City, Kansas, in the 1880s and 1890s, and Thomas J.

Griffith, who published hymnbooks (see chapter IV), tracts, and journals in Welsh, gradually attracted a larger group of English-speaking customers who needed printing services to his Utica, New York, offices.*® The

D. 0. Evans Company of Youngstown provided several Welsh composers with the opportunity to have their music published in the 1890s. The company remained active at

**"One Hundredth Anniversary 'Cynonfardd' Eisteddfod," Printed program, 22 April 1989, Dr. Edwards Memorial Congregational Church, Edwardsville, Pennsylvania.

*®Robert R. Meredith also published a substantial amount of Welsh-language materials in Utica, Including some hymnals. For more information on Welsh printing in American see Edward George Hartmann, Americans from Wales (Boston; Christopher Publishing, 1967), 135 and 136. 142 least until 1949, when it was located in Cleveland. Evans and Rev. T. G. Jones also published a musical monthly. The

American Musical Times, from 1891 through 1895. This magazine, recommended to the Welsh public at the eisteddfod of the Western Reserve in Ohio,*‘ contained biographical sketches, manuals of instructions for various musical instruments and music theory, reviews of books and music, printed music, editorials, and advertisements.

Several non-Welsh musicians and writers of the late nineteenth century admired the performance standards of

Welsh choirs, ensembles, and soloists. As noted in chapter II, H. A. Clarke, a correspondent for the

Philadelphia American in 1882, was impressed with the musical knowledge of the Welsh musical laymen he overheard discussing the good and bad points of various individual performances at an eisteddfod he attended. He further remarked that the non-professional Welsh singers of

Pennsylvania could be favorably compared to many professional choruses,** and observed that the Welsh choirs had few collective rehearsals but managed to sing well together despite this hindrance. Clarke's opinion of

^^Youngstown Evening Vindicator, 26 December 1890,

**Sister Mary Veronica Davison, "American Music Periodicals, 1853-1899" (Ph.D. diss.. University of Minnesota, 1973), 528.

*=New York Times, 16 November 1882. 143

the singers is substantiated by the fact that in 1889 the

famous conductor Theodore Thomas asked the Welsh Baptist

Church Choir of the Scranton/Wilkes-Barre area to join

with his touring orchestra for a local performance of "For

Unto Us a Child Is Born."®"* Edith Brower, writing for the

Atlantic Monthly of January 1895, claims that Walter

Damrosch, after serving as an eisteddfod adjudicator in

Pennsylvania, remarked "I wish I could get my choral society to sing in that way."*® The Welsh choirs of

Pennsylvania, at least, made a good impression on American musical leaders! Some non-professional musicians also

found the performances of the Welsh to be commendable as

indicated by this anonymous letter printed in an eastern

Pennsylvania newspaper in 1887;

From time to time I have heard a great deal about the choral singing of the Welsh people, and . . . I wended my way thereto (a concert rehearsal] . . . Being somewhat of a musician myself, . . . and being an admirer of Mendelssohn . . . I therefore availed myself of this opportunity. I purchased a ticket and was greatly astonished at its exceedingly low price— 20 cents. . . . I will not go into details as to the minor numbers, but must add that I was more than surprised with the masterly efforts of the tenor, bass, and contralto solos of the evening .. . "Thanks be to God," the most intricate of Mendelsshon's [sic] compositions and decidedly the most difficult to perform, cannot be appreciated unless accompanied by an orchestra . . . I always entertained the opinion that the conductor who would attempt to perform it without an orchestra was not a

*•*1889 Scrapbook, Jones Collection.

*®Edith Brower, "The Meaning of an Eisteddfod," Atlantic Monthly (January 1895): 59. 144

sane man. [It] was next on the programme. About one hundred and fifty arose in their seats, and a young man apparently not over twenty-one years of age stood before them. The pianist gave the tonic, and the young conductor's "one, two, three," was followed by "Thanks be to God" that stirred and electrified every soul that was in the hall, unless it was made of stone. . . . For me it was a surprise, the impression of which cannot be obliterated by time. The time was perfect, the attacks were superb, and the general rendition was marvelous.**

There is some evidence that the Welsh were also

involved in the various revival periods in eastern America

(Pennsylvania, New York, and Ohio), and that there was a cross connection between Wales and the American Welsh community in revivalist activities. The largest periods of Welsh emigration to America (after about 1817, and in the 1870s and 1880s) correspond to periods of great revivalist fervor in America among the denominations most closely connected to the Welsh— the Presbyterians and the

Congregationalists The preaching gymanfas sponsored by these denominations in America beginning in the late 1820s were similar to revival or camp meetings; guest preachers were retained to preach a series of sermons for the community at large over a period of three or four days, with hymn-singing sessions interspersed between sermons.

The nearly five hundred Welsh churches located in America by 1890 "all experienced the [type of] revivals that

**1887 Scrapbook, Jones Collection.

*^See The New Grove Dictionary of American Music, s.v. "Hymnody," by Paul C. Echols. 145

periodically swept Wales."** More study is needed in the

areas of religion and ethnic correlation, the constituency

of revival audiences, and the ethnic background of some

American and Welsh revival leaders.**

Welsh musical traditions and persons of Welsh heritage have played an exceptionally important role in

the musical development of many American communities. The

total nineteenth-century Welsh population in America was

never as large as the immigrant populations from

countries, such as Germany or Italy, yet relatively large

numbers of Welsh have been involved in music. In the

states of Pennsylvania, Ohio, and Wisconsin, Welsh musical activities began within a few years of each other (see appendix A) despite the fact that the two more eastern states were settled earlier than Wisconsin. Musical

events began in these three states at almost the same time

that the National Eisteddfod of Wales (which featured

choral singing) and the gymanfa ganu movement in Wales

were born. Welsh-Americans of the nineteenth century valued their musical heritage enough to continue their

traditions on a small scale when necessary (as in the case

*"Harvard Encyclopedia of American Ethnic Groups, 1981 ed., s.v. "Welsh," by Rowland Berthoff.

**See Richard Carwardine, "The Welsh Evangelical Community and 'Finney's Revival'," Journal of Ecclesiastical History 29, no. 40 (October 1978) and Hartmann, Amer icans from Wales, chapter V. 146 of Kansas where the Welsh population was smaller and concentrated in one region of the state) and in grand fashion when possible. As the Welsh were assimilated more into American life and intermingled with neighbors of different heritage, they chose not to abandon their musical customs, but rather to draw other Americans into their events.

The activities of the Welsh and their reputation for fine musical performance caused newspaper reporters and editors to consider information about Welsh contests and concerts to be newsworthy. The appearance of a substantial amount of information about Welsh events in local papers may have contributed significantly to the total Welsh influence in a community. It would be interesting to know the percentage of non-Welsh people in the audience at eisteddfodau and concerts, and whether these audience members were then inspired to undertake musi :al activities of their own as a result of their experience among the Welsh. When Welsh-Americans began to move into non-Welsh Protestant churches, the Welsh predilection for harmonized hymn singing may have been felt as a similar influence in church music performance.

Certainly the inclusion of "Welsh" hymns in modern hymnals shows a continuing contribution by Welsh and Welsh-

Amer ican composers to American music. This study has shown that the Welsh, like other people, were slow to 147 change their preference for certain hymns, but that there was change during the period in question. It has also shown that hymns considered to be favorites in America were not necessarily the favorites of the Welsh in Wales, and that Welsh hymn compilers were both nationalistic and eclectic in their selection of hymn tunes for publication.

Welsh-American composers were prolific in their output of anthems, glees, and part songs in styles that were common in the nineteenth century. Further study of these composers, their works, and the use of these works by non-Welsh musicians (in both the nineteenth and twentieth centuries) is needed to make a full assessment of the Welsh impact on American repertoire. Daniel

Protheroe (and perhaps others) certainly merit inclusion in future American musical reference books.

This study of Welsh musical activities in nineteenth- century America provides important information about the musical links between America and Wales, and between persons of Welsh and non-Welsh background within the

United States, information which should not be ignored in describing the nineteenth-century American musical milieu.

Clearly a detailed study of Welsh-oriented activities in other American states and in the twentieth century is necessary. While the term eisteddfod, for example, is seldom used in the twentieth century, the event lives on in new forms and under new names. Today in its life in 148 public schools as music and debate contests, it lacks only adult participants and an emphasis on composition, two aspects prominent in nineteenth-century Welsh contests.

The role of twentieth-century cymanfaoedd canu and St.

David's Day programs should also be examined further. In the 1980s, they appear to attract only Welsh-American participants, and have little following outside Welsh communities. Modern cymanfaoedd in particular have shifted their focus from the teaching of new choral pieces

(as in the nineteenth century) to sing-a-longs featuring favorite hymns and solos by guest artists.™*

A study of Welsh activities and influence, and studies of other ethnic traditions in the United States

(such as those pertaining to the German sângerfest and the musical traditions of Black Americans), will allow the entire history of music in this country to be more fully appreciated. While considerable work has been done on the musical impact of German-Americans and Black Americans, and that important effort continues, further detailed research into the background of Welsh immigrants and their influence on American music is also justified.

**See Patricia Bowers Schütz, "A Comparison of the Traditional Welsh Gymanfa Ganu with Contemporary Local American Practices," (D.M.A. diss.. University of Missouri-Kansas City, 1984). APPENDIX A

WELSH MUSICAL EVENTS TIS0Ü6H 1900

E=Eisttddfod Mymamfa ganu C«Conc*rt 0=0th*r (including festivals, unions, conventions, etc.) ?>Nonth unknown

YEAR/MONTH PENNSYLVANIA OHIO WISCONSIN KANSAS

1851 ? E Carbondale

1852 ? E Carbondale

1853 DEC E Carbondale

1854 JUL E Scranton

DEC E Carbondale

1855 DEC E Pittston E Ebensburg E Carbondale

1858 DEC C Milwaukee E Raci ne

1859 MAR C Milwaukee

DEC E Scranton C Milwaukee E Ebensburg

1860 ? 6 Gouer E Youngstown

1861 NOV C Milwaukee

? 0 Newburgh 6 Moriah 1862 JAN 0 Milwaukee

149 150

1862 DEC E Milwaukee

? 0 Newburgh

1863 MAR 0 Soar

APR E Hyde Park

JUN 0 Horab

JUL E Youngstown

’isiriÊc” E Mahoning Co.

? E Youngstown

1865 DEC E Youngstown

1866 FEB 0 Cambria

MAR 0 Cincinnati

? E Providence

1867 FEB 0 Milwaukee

DEC E Hyde Park E Youngstown

1868 JAN E Wilkes-Barre E Pittston

FEB 0 Columbus

MAR E Scranton

1869 JAN E Pittston E Scranton

FEB 0 Racine

MAR C Scranton E Pittston

DEC E Wilkes-Barre E Emporia

1870 JAN E Pittston 1 5 ]

1870 MAR E Pittston 0 Watertown

JUN C Hyd« Park

JUL E Pittston E Carbondale

NOV 0 Milwaukee

DEC E Scranton E Emporia

? 0 Emporia lêÿr'iiÂr E Hyde Park 0 Cambria

JUL E Ar vonia

DEC E Hyde Park

? 0 Em po ria

1872 MAR E Scranton

DEC E Plyaouth ’ E Cincinnati E Em po ria 0 Em poria

1873 JAN E Pittston

MAR E Scranton

JUL 0 Em po ria

AUG C Cleveland

DEC E Lucerne C Jackson 0 Em po ria E Hyde Park E Pittsburgh

1874 JAN E Pittston

FEB C Racine

DEC E Milwaukee 0 Em po ria

? C Scranton E Cincinnati 152

1875 MAR E Wilkes-Barre E Mineral Ridge 0 Co lu mbu s

JUL E Osage City

SEP E Hyde Park C Milwaukee

OCT E Delphos E Oak Hill

DEC E Columbus E Milwaukee C Emporia E Youngstown E Dodgeville E Emporia

? E Scranton E Cincinnati

1876 JAN E Pittston E Cleveland

DEC E Cincinnati E Osage City

? E Columbus

1877 MAR E Hyde Park E Carbondale

APR E Oak Hill

JUN E Audenried

JUL E Bellevue E Jackson

AUG E Hyde Park

SEP E Scranton

OCT E Gomer 0 Milwaukee

DEC E Hyde Park E Columbus E Racine E Emporia E Dodgeville

1878 APR E Wilkes-Barre

JUN E Jackson

SEP G Edwardsville

DEC 0 Emporia 153

1879 NAY E.Wilkes-Barr*

NOV E Philadelphia

DEC E Ebensburg E Racine 0 Emporia

0 Youngstown

1880 JAN 0 Waukesha

MAR E Edwardsville 0 Scranton

APR E Jackson

MAY E Nahonoy City

JUN E Hyde Park

DEC E Milwaukee E Emporia

'Î8BÎ''DÊC' E Racine

'îiir'ÂPR E Hyde Park

DEC E Pittsburgh E Youngstown E Oshkosh E Osage City E Nanticoke

E Philadelphia

1883 MAR E Venedocia

AUG 6 Hinersville

OCT 0 Gomer

DEC E Hyde Park E Youngstown E Emporia E Nahonoy City E Pittsburgh

E Na nticoke G Goner

1884 JAN E Lima

FEB E Plymouth 154

1884 MAY E Wilkes-Barr*

DEC E Columbus E Racine E Cleveland

1885 JAN E Osage City

MAR E Hyde Park 0 Emporia E Nanticoke

MAY E Hyde Park

JUL E Youngstown C Lima

NOV E Hyde Park

DEC E Cambria Co. C Lima E Racine E Emporia

9 E Scranton G Waukesha Co.

1886 MAR E Hyde Park E Lima E Scranton

MAY E Plymouth

DEC C Emporia

1887 JAN E Youngstown E Racine

FEB E Jackson

MAR E Scranton 0 Racine

APR E Lima

DEC E Pittsburgh E Youngstown 0 Emporia E Shenandoah E Emporia E Arvonia

1888 JAN C Scranton

MAR E Hyde Park 0 Cincinnati E Racine 0 Emporia 0 Pittsburgh 0 Kansas City 0 Philadelphia 0 Scranton 155

1888 APR C Venedocia

JUN E Wilkes-Barre C Scranton

SEP 6 Edwardsville

NOV E Glen Lyon

DEC E Youngstown E Racine E Enporia

1889 JAN E Bethania

FEB E Wilkes-Barre

MAR E Hyde Park E Scranton C Scranton

APR E Scranton

OCT C Scranton

NOV E Scranton

DEC E Wilkes-Barre E Youngstown C Emporia E Philadelphia E Cincinnati E Mahonoy City E Plymouth E Pittsburgh

G Edwardsville

1890 JAN E Venedocia E Chicago

MAR E Scranton

AUG E Hazelton

DEC E Wilkes-Barre E Youngstown E Taylorville E Nahonoy City

1891 JAN E Venedocia

FEB E Avoca E Shamokin 156

1891 m E Wilkes-Barr* 0 Youngstown 0 Milwaukee 0 Em p o r i a E Scranton E Freeland 0 Cincinnati

JUN E Wilkes-Barre

SEP E Plymouth

NOV E Wilkes-Barre

DEC E Plymouth E Racine 0 Emporia E Pittsburgh

E Youngstown

1892 FEB E Avoca E Peterton

MAR E Wilkes-Barre 0 Milwaukee E Scranton

JUN E Scranton

SEP E Scranton

OCT 6 Youngstown

NOV E Scranton

DEC E Delphos C Em po ria 0 Youngstown

E E m po ria

1893 JAN E Bellevue E Nanticoke

FEB E Avoca

MAR E Hyde Park 0 Youngstown C Racine 0 Wilkes-Barre C Milwaukee 0 Pittsburgh 0 Scranton

APR 0 Hutchinson 157

1893 MAY E Pittston E Hazelton

AUG C Milwaukee

SEP E Chicago

NOV E Wilkes-Barre E Nanticoke

DEC E Bellevue C Emporia E Wilkes-Barre E Plymouth

? E Shawnee

1894 MAR E Wilkes-Barre E Delphos C Milwaukee 0 Emporia C Scranton 0 Cincinnati

APR 0 Emporia

MAY E Pittston

JUN E Edwardsville

SEP E Scranton

NOV E Plymouth E Allentown

DEC E Bellevue E Youngstown E Carbondale

? C Wilkes-Barre

1895 JAN E Columbus

MAR E Edwardsville 0 Emporia

MAY E Wilkes-Barre 0 Emporia

JUN E Scranton C Wilkes-Bari/e

OCT E Gomer

? E Lima 158

1896 JAN E Bellevue E Lima E Milwaukee

MAR E Edwardsville 0 Youngstown 0 Milwaukee 0 Emporia E Scranton 0 Gomer 0 Osage City E Pottsville

APR E Sugar Notch E Plymouth

MAY E Homestead E Parsons

JUN E Wilkes-Barre

SEP E Shamokin

NOV E Wilkes-Barre

DEC E Pittsburgh

1897 JAN E Bellevue E Racine E Nanticoke

FEB E Avoca G Welsh Prairie

MAR E Olyphant 0 Cincinnati 0 Milwaukee E Hazelton E Edwardsville

MAY E Scranton

AUG E Parsons

SEP G Edwardsville

OCT E Jackson

NOV E Allentown E Nanticoke E Mahonoy City

DEC E Youngstown E Oshkosh

1898 JAN E Nanticoke

FEB E Scranton 0 Youngstown 159

1898 MAR E Edwardsville 0 Cincinnati 0 Milwaukee 0 Arvonia E.Scranton

APR E Scranton

MAY E Ada

JUN E Hyde Park

SEP E New Castle

OCT E Scranton

NOV E Nanticoke [ Scranton

DEC E Hazelton E Cleveland E Plymouth

? E Wilkes-Barre E Columbus

1899 JAN E Scranton E Milwaukee E Nanticoke 6 Milwaukee

FEB E Taylor

MAR E Scranton 0 Cincinnati 0 Emporia E Edwardsville

NOV E Wilkes-Barre E Scranton

DEC E Bellevue

? E Cincinnati E Youngstown

1900 JAN E Scranton

MAR 0 Ebensburg

MAY E Scranton 6 Scranton

•) E Wilkes Barre APPENDIX B

THE ANCIENT BARDIC GORSEDD

The following description of the Gorsedd ceremony was provided in the program for the International Eisteddfod of the World's Fair held in Chicago in 1893. The event was under the direction of Hwfa Mon [Rowland Williams],

Chief Bard of the Gorsedd from Llangollen, North Wales.

The Gorsedd of Bards is generally regarded as a relic of the Druidic times, . . . It is held in the open air "In the face of the Sun, the Eye of Light." The proceedings are carried on within a circle marked out by twelve unhewn stones placed a few feet apart. In the center is a large stone, also unhewn, called the "Maen Llog," or "Logan Stone," upon which the Arch Druid stands facing the East. At each of the twelve stones a Bard is placed to guard the sacred circle, and there are others within the circle to take part in the proceedings. The ancient Gorsedd Prayer having been said, the other work is proceeded with according to the old ritual of the Bards, the ceremony usually occupying about an hour. . . . The "sacred sign" / I\ according to some authorities symbolizes the rays of Divine Light, while according to others it is composed of three letters of the old Bardic alphabet (Coelbren y Beirdd) which form the sacred name of God. The mottoes are those of the Eisteddfod and the five "chairs," [sic] of Bardic Provinces into which Wales was in ancient times divided. "Gwir yn erbyn y Byd"— "Truth against the world," is the motto of the Eisteddfod and Gorsedd of Bards as a whole. "Duw a phob Daioni,"— "God and all that is good," is the motto of the Bardic Province of Glamorgan; "Calon wrth Galon,"— "Heart to Heart," is that of the Province of Dyfed (South West Wales); "lese na'd Gamwaith,"— "Jesus forbid Injustice," is that of

160 161

Gwynedd (Northern Wales); and "A laddo a leddir,"— "He that slays shall be slain," is that of Powys (Central Wales). "Dan Nawdd Duw a * i Dangnef," — "Under the protection of God and His peace," is the motto of the Chair instituted at Caerleon according to tradition by King Arthur and the Knights of the Round Table, and it was to the Province of this Chair that the old City of London attached.*

Bardic Processions took place at noon on Tuesday and

Friday, 5 and 8 September at the World's Fair. The Bardic

Chair ceremony, where the winner of the Ode Competition was announced, was held on Thursday and consisted of:

MASS CHORUS "Men of Harlech"

BARDIC ORATION

GRAND BARDIC HARP DUET "Cambria"

THE TRUMPET CALL (formation of the Bardic Crescent)

WELSH MELODY "Aderyn Pur"

READING OF THE ADJUDICATION

ENTRANCE OF THE VICTOR (led by Bards, Ovates, and Musicians)

SWORD CEREMONY

POETIC IMPROMPTUS

SONG "0 Delyn Fy Ngwlad"

*For more information on the Gorsedd in general, see Edward George Hartmann, Americans from Wales (Boston: Christopher Publishing, 1967), 143-46; also Dillwyn Miles, The Royal Eisteddfod of Wales (Swansea: Davies Publishing, 1977), 146ff. 162

Five contestants, assigned to write an ode on the subject "Jesus of Nazareth," had entered the Bardic Chair composition contest in Chicago. A work entitled "Lazarus" by Reverend E. Rees of Cardiff, South Wales, was selected as the best. Rees was presented with $500, the Bardic

Chair, a gold medal, and a lot valued at $100 located in

Spokane, Washington.®

®W. Arvon Roberts, "Chicago International Eisteddfod of 1893" Part 3, Yr Enfys 107 (May-June 1975): 20 & 31. APPENDIX C

WELSH AND WELSH-AMERICAN COMPOSERS

William Ap Madoc T. J. Davies David Emlyn Evans Gwilym Gwent David Jenkins John Ambrose Lloyd D. J. J . Mason Joseph Parry J. W. Parson Price Daniel Protheroe John Roberts John Thomas

William Ad Madoc

William Ap Madoc (or Apmadoc, d. 1916) was a composer and librettist who was born in Wales but lived in Utica,

New York, in the 1870s and 1880s, and in Chicago in 1893-

While in Chicago he worked as a teacher of "voice culture," singing, harmony, and elocution, as director of music of the Chicago High Schools, and as a cantor at

Chicago's All Souls Church.* He was also known as a singer, and was apparently proficient in the ancient penillion technique of improvisatory singing. He served as adjudicator and conductor at several American

‘Program, Chicago 1890, 35; Ceris Gruffudd, Aberystwyth, Wales, to Linda Pohly, Westerville, Ohio, LS, 14 February 1989.

163 164 eisteddfodau, and his anthem "Can y Mab Afradlon" ("Song of the Prodigal Son") was included for massed choir performance in the Chicago 1893 World's Fair Eisteddfod program. (Ap Madoc was also General Secretary of that affair.) He is credited as the librettist for the opera

The Maid of Cefnydfa by D. J. J. Mason, and several cantatas by William Rhys-Herbert. While still living in

Utica, he assisted in the publication and printing of a

Welsh magazine for children. He was admitted to the

Gorsedd in Pittsburgh in 1913.®

T. J. Davies

Only minimal information is provided about the life of T. J. Davies through several Pennsylvania press reports of the 1890s. He served as an eisteddfod adjudicator in

1891 and 1893, and joined Walter Damrosch in that capacity in Allentown in 1897. He worked as a music teacher in the

Scranton area; a vocal recital by his pupils on 19 May

1896 included a performance of his "Out of the Deep."® He arranged Welsh airs and composed part songs for male choruses; those extant were all published in the United

“George Edward Hartmann, Americans from Wales (Boston: Christopher Publishing, 1967), 134; Janice J Miller, "1913 Pittsburgh International Eisteddfod," Occasional Paper Number 2 for the Pennsylvania Ethnic Heritage Studies Center, University of Pittsburgh, appendix B.

“1896 Scrapbook, Jones Collection. 165

States. A "benefit concert" was planned for Davies by the

Welsh of Hyde Park (Scranton) in April 1898.*

David Emlvn Evans

Emlyn Evans (1843-1913) received his scant musical training from hymn composer and compiler John Roberts

(leuan Gwyllt). He was successful in the composition category at several eisteddfodau in Wales (including the

National in 1865) and the United States (Pittston, 1869), and later served as a judge for contests. His compositions include an oratorio, an operetta, cantatas, songs, anthems, glees, arrangements of Welsh airs, and hymn tunes such as "Trewen" and "Eirinwg." He also edited several music journals and hymn books, wrote music textbooks on harmony and accompaniment, and was a music critic.= Although he supported the eisteddfod tradition

in Wales, he "expressed his views fearlessly against the prevailing over-indulgence in glee-writing merely for purposes of eisteddfodic gain" [i.e., for the composition prize).® Evans' tenor solo "Bedd Llewelyn" ("Llewelyn's

*1898 Scrapbook, Jones Collection; the reasons for the "benefit" were not specified.

=1899 Scrapbook, Jones Collection.

^Dictionary of Welsh Biography, 1959 edition, s.v. "Evans, David Emlyn," by David E. P. Williams. 166

Grave"), which had achieved popularity in Wales, was performed at the Scranton eisteddfod of 1885.

Gwilym Gwent

Gwilym Gwent (William Aubry Williams) (1834-1891), born in South Wales, never received any formal musical training, but learned to sing in the Sunday School near his home in Wales. His earliest compositions were temperance songs and settings of hymn texts; his later anthems were said to contain texts and tuneful melodies that were "easily grasped and learned," and his secular works often contained "tra, la, la" sections.^ Though a number of his compositions were completed in Wales, he continued to write following his emigration to America in

1872 to work in the coal mines. It is said that the surface of the door he tended in the mine served as a chalkboard for his latest musical ideas sketched in haste to preserve them until he was again near paper, earning him the nickname "Mozart of the Mines." Several of his compositions won prizes at eisteddfodau in both countries, and the memorial eisteddfod held for him in Wilkes-Barre in 1892 featured his works as test pieces. Although many of his compositions were accidently destroyed after his

■^"The Mozart of the Mines," TMs, Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania, 3. 167 death, he was well-known among the Welsh of eastern

Pennsylvania for many years, and a musical celebration marking the centennial of his birth was held in Plymouth in 1934.® Among his works performed in America were

"Sleep My Lady Love" for male chorus, the duet "How Sleep the Brave," the part song "Awel Mai" ("Balmy May") and the glees "The Summer" and "Breezes of Morning."®

David Jenkins

Jenkins (1848-1915), who taught himself to read music in his youth through the Tonic Sol-fa system, received his formal musical training under Joseph Parry beginning in

1874, and he eventually succeeded Parry as music instructor at the University College of Wales. Jenkins published most of his music at his own expense; works include the hymn tunes "Penlan" and "Bui 1th," anthems and glees, and several large choral pieces.He also

®"One Hundredth Anniversary Celebration," Printed program and history. Clipping file, Osterhout Free Library, Wilkes-Barre, Pennsylvania.

•"Sleep My Lady Love" and "The Summer" were still advertised for sale by the D. 0. Evans Co. of Cleveland as late as 1949 in an eisteddfod program from Utica, New York. The advertisement proclaimed that "they are among the numbers that helped to build up the Welsh musical world in America." This program is held by the Oneida Historical Society in Utica. Gwent's "Breezes of the Morning" won the prize as best glee composition at the Youngstown Eisteddfod of 1874.

‘•His large choral works include the cantatas David and Goliath and A Psalm of Life; the operetta The Village Children; and the oratorio The Legend of St. David. 168 published the music of other Welsh and Welsh-American composers such as Gwilym Gwent (see "Balmy May" in appendix D). Owain Edwards observes that his "rather traditional Romantic style combines German harmonic richness with dramatic Italian characteristics."**

He often served as an adjudicator at eisteddfodau in Wales and the United States, and is known to have conducted

"hymn-singing festivals" in Wales. He visited the United

States in his youth to enter contests (Utica and

Milwaukee) and in later years to serve as an adjudicator.

A visit to Pennsylvania in 1885 brought a warm reception among the Welsh; his talents as a singer were displayed at a special concert given in September in the Scranton area,*= and he was a soloist in a presentation of The

Creation in Utica, New York, in the same year. The chorus

"Now the Impetuous Torrents Rise" from his oratorio David and Saul was a test piece at the Chicago World's Fair

Eisteddfod in 1893.

John Ambrose Llovd

While known primarily as a hymn tune composer and hymnbook editor, Ambrose Lloyd also composed anthems that were used as performance pieces at contests and St.

**The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Jenkins, David," by Owain Edwards.

*“1885 Scrapbook, Jones Collection. 169

David's celebrations in America. Lloyd (1815-1874) lived

his entire life in Great Britain and began composing hymn

tunes at age sixteen under the guidance of his father, a

minister and cabinet maker.*™ Composition was a useful avocation for Lloyd, for he earned his living as a church

choir director. Among his compositions are three cantatas, twenty-eight anthems, and more than ninety hymn

tunes including "Wyddgrug" and "Eifionydd." His anthem

"Teyrnasoedd y Ddaear," with text from Ps. 68:32-35, won

the composition award at the eisteddfod in Bethesda

(Wales) in May 1852, and was performed at least six times at Welsh-American musical events between the years 1867 and 1893.

D. J. J . Mason

Mason, born into a musical family in South Wales, received his early training in theory and piano from his

father, the director of the Tabor chapel choir of

Brynmawr. As a youth he sang in several choirs including

one directed by Gwilym Gwent. Upon emigration to the

United States ca. 1870, Mason continued his music education under the tutelage of Joseph Parry. In 1882,

Mason returned to Great Britain to study at the Royal

Academy of Music and at Dublin University; he was awarded

^^Dictionary of Welsh Biography, 1959 ed., s.v. "Lloyd, John Ambrose," by Robert D. Griffith. 170

Doctor of Music degrees from Dublin and from Trinity

University in Toronto, Canada. He established more permanent residency in Wilkes-Barre, Pennsylvania, after

1886, working as a teacher, organist, conductor, and composer. Much of his time was spent as conductor of the

Wilkes-Barre Oratorio Society, which performed Messiah,

St. Paul, Elijah, Judas Maccabeus, Samson, The Creation,

Women of Samaria, and Mozart's Requiem under his leadership. His compositional output included the oratorio From Out of the Depths, from which the choruses

"Who Is Like Unto Thee" and "Sing Unto God" were used as contest pieces; a cantata 0 Be Joyful in God; the opera.

The Maid of Cefnydfa; and other vocal compositions. He also authored a few piano works, and a small book on music theory.

Joseph Parry

Joseph Parry (Pencerdd America), born in Wales in

1841, emigrated to Danville, Pennsylvania, with his family in 1854. He was a successful competitor at eisteddfodau in both Wales and the United States, and entered the Royal

Academy of Music in London in 1868 with the financial aid of some Americans who felt his talents deserved cultivation. Thereafter, he taught music in Danville but

*-*"Dr. D. J. J. Mason," The Cambrian 10, no. 11 (November 1890): 321. 171 eventually returned to Wales to become professor of music at the University of Wales in Aberystwyth and at the

University College of South Wales. He was frequently asked to judge at eisteddfodau held in both countries, and to lead songs at cymanfaoedd canu in Wales during the

1880s.*= Parry died in 1903 in Wales.

Parry composed a few instrumental works, but the majority of his compositions were for voices; five operas, including Blodwen and King Arthur; three oratorios, including Saul of Tarsus; five cantatas; anthems and songs; and over four hundred hymn tunes,

including "Aberystwyth."*’* He was honored by the Welsh of

Pennsylvania in the 1880s with the formation of the

Dr. Parry Glee Society. Among his works performed in

America were "God Be Merciful" for female trio, "Pilgrim's

Chorus" for male chorus, the duet "Flow Gently, Deva," and

"My Blodwen, My True Love" (from the opera Blodwen) for tenor soloist.

J. W. Parson Price

Parson Price, born in South Wales in 1839, studied flute, violin, and cello in his youth, and began

*=Owain T. Edwards, Joseph Parry (Caerdydd [Wales]: Gwasg Prifysgol Cymru, 1970), 37.

*-*The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Parry, Joseph," by Peter Crossley-Holland and Nicholas Temperley. 172 conducting at age fourteen, winning contests with his ensembles nine times over the next three years. At the eisteddfodau, he polished his talents as a tenor soloist and composer, and he was selected as a prize winner in composition by leuan Gwyllt (John Roberts) In 1861.*^ In

1864 he emigrated to New York City, where he worked as a tenor soloist on the Broadway stage and in touring companies. Later, when he became a voice teacher in New

York and then in Scranton, he was able to devote more time to the composition of vocal ensemble pieces, anthems and part songs, and hymns. Price served well over one hundred times as an adjudicator at various eisteddfodau in Wales and the United States.*-® At least seven works from his pen, including "New Year's Eve" and "When We Were Boys," were performed at American eisteddfodau.

Daniel Protheroe

Another prolific Welsh-American composer, also born

in Wales, was Daniel Protheroe (1866-1934), winner of the

National Eisteddfod of Wales as a soloist in 1880 and

1881.*® His family emigrated to Scranton before his twentieth birthday, and arranged for him to study music

*■^1900 Scrapbook, Jones Collection.

**1900 Scrapbook, Jones Collection.

**The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Protheroe, Daniel," by Owain Edwards. 173 with Parson Price and Dudley Buck. He eventually received a D.Mus. from the University of Trinity College in Toronto before working as a conductor and teacher in Scranton,

Milwaukee (at the Wisconsin College of Music), and

Chicago. He was also a frequent visitor to his native land, where he was an admired conductor, adjudicator, and composer. He composed cantatas, a mass, anthems, glees and songs, two string quartets, and hymn tunes (including

"Milwaukee" and "Wilkesbarre"), and was editor of the Can a Mawl hymnal in 1918. Much of his music is currently held at the National Library of Wales in Aberystwyth.

Protheroe's hymn tune "Myfanwy" was used as a contest piece for choruses in Scranton in 1889 and 1892, his glee

"Rivulet" was a test piece in both Scranton and Delphos in

1892, and "Spartan Heroes" was performed by choruses at

St. David's programs in Cincinnati in 1898 and 1900.

John Roberts

Roberts (leuan Gwyllt) (1822-1877), one of the most influential Welsh hymn writers and editors of the nineteenth century, was born (just outside of Aberystwyth) to a family of musicians, and as a young man worked as a teacher and journalist. He also began to compose hymn tunes at an early age; his "Hafilah" was published in

1839. He was drawn to the ministry in 1856, being 174 ordained by the Calvinistic Methodist church in 1859.*°

Roberts is credited with beginning the cymanfaoedd canu in

Wales in 1859, and with the publication of one of the most influential hymn-tune books of the nineteenth century,

Llyfr Tonau Cynulleidfaol (Tune Book for the

Congregation), In 1859. This book was reprinted in 1864 in Tonic Sol-fa notation, a teaching method that Roberts promoted in a journal under his editorship. Later in his career (1874), influenced by the gospel movement of Sankey and Moody, Roberts published a Welsh collection of their tunes, Swm y Jubili. He served as adjudicator at eisteddfodau in Wales and occasionally in the United

States, although he did not spend much time here.

John Thomas

Welsh-born John Thomas (Percerdd Gwalia) (1826-1913) learned to play the harp under the supervision of his father. His victory on the triple harp at the competition in Abergavenny in 1838 helped insure his enrollment at the

Royal Academy of Music in 1840, and in 1871 he was appointed harpist to Queen Victoria and teacher of harp at the Academy. His interest in vocal music and choral arrangements of Welsh airs led him to establish the London

^**Dictlonazy of Welsh Biography, 1959 ed., s.v. "Roberts, John," by Robert D. Griffith. Some sources say his ordination took place in 1861. 175

Welsh Choral Union at approximately the same time. He composed a harp concerto, symphonies, quartets, overtures, operas, songs, and cantatas (including Llewelyn, see chapter II, and The Bride of Neath Valley). He also published four volumes of Welsh airs and was the editor of his own collection of Songs of Wales in 1874.**

^ ‘Dictionary of Welsh Biography, 1959 ed., s.v. "Thomas, John," by Robert Griffith. Percy Young claims that Thomas was a "friend of Rossini and Meyerbeer." See Percy M. Young, A History of British Music (New York: Norton & Co., 1967), 491. APPENDIX D

WELSH AND WELSH-AMERICAN MUSICAL EXAMPLES

Examples 1 - 7 reproduced by permission of the National Library of Wales. Example 8 taken from the hymnal Y Drysorfa Gerddorol.

1. "Awel Mai" ("Balmy May") - Gwent

2. "Come to Me, Love" - Price

3. Easter Anthem, "Christ Our Passover" - Price

4. "Llwyn Onn" ("The Ash Grove") - arr. Thomas

5. "My Blodwen, My True Love" - Parry

6. "The Rivulet" - Protheroe

7. "Summer Night" - Davies

8. "Teyrnasoedd y Ddaear" - Lloyd

176 177

Awel Mai. Balmy May. Part Song for S.A.T. B. Welsh words by IXEW LIWYFO. English words by Rev. T . C. EDWARDS. Andante coQtabile. J.= w By GWILYM GWENT.

Aw . cl aw . cl Bal-m . V, Balm

A w.el Mai.Aw. cl MCI Aw.cl Mai Aw.el Mai.Aw. iNf/aijf May Balmy Hay, a Tenor. cl Mail Aw. cl Mai Aw.rl Mai, Balmif Muÿ Balmy May BatmyMay, Bass. el, Aw . cl Mai, W.cl Mai, - y ialwi.y May Balmy May

•)

aydd yu drwy y gwydd, Ai.iau Jou s'Jt. ly thro* the trees Ka1art*4 day»lehit.pers

sydd yu au . o drwy— y gwydd lau lou, Sf>ft . ly ahit.pers thruL.,,.. /A'* trees. tares day q

sydd yn drwy y Au . tau lou, a 1« iu w\t so/t. ly thru* the Atf . tMre*s day, a per. feet

■tL r 1. i _P n V' r r~ r ------a kill w’n bron, a kin . , w'n brou> tl aw . rl . • on fhad iawu H:\Jd, a prr.ftel day, u ptr - - fttl day, dttrtoar hearts------' miih yraretjal irtet'..

a kin w'n bron, ---- a Icin.w b bron, O aw-. cl . ou riiaU lawu rl^dd, « ptr./tel ..... u ptr./ttl day. Cheer* our hearts mith yraeeajul breeze. j) ik ... k#' ' ,■ --L.

Icio w'n bron, a TIcin.wiB r , bron, r ^ ' ^ 0 ' aw.T cl r . our rhadf lawu f rhydd, r ' ' ptr . /act day. u ptr./tel day, Cheer* our hearts mith yroee^al breeze. r l'J ë * !» n 1 " • 1 « peTmJeU day. Cheers oar haariamilk yfca^ml értete. Price SoUa 2^ O.K. S4 Published by D. Jenkins Mus. Bac. (Cantab.) Aberyst**’***** tJyfrfwtl Oenedlaethol Cymru TW Kadesal Library of Wales 178

An 1* 11, aii.ijtu Ka teffV, M.lirrr#

iurts na.itirti

UU, AU . U u tart* ne^turù

A ]cin • w'n bron, a p tr ^ /tc t éaf»

Ion. « Iviu . wn brow. A kin .w o brow, A leia.wb bron, dujf, u ptr. ftct day. A ptr. /tet day^ A p^r.ftei rfay,

lem . wu A lorn • w h broo, p t r - /ttt « per./tet day.

Aw - iitu lou. A leio.wo bron Ha.terti day. A xT^r./tet dayj.

bron, day.

O AW. el rhtulAowri^'dd w^uoi 5*w gwe.uAU Lkttft <*ur hearts ttifh qrattjulbrttit. Chanmiityart tmiltt V»

O AW. el _ ou |rfaAJlAwurti>dd. bwyuol j*w 1 gwiw; Dol A mywydd Ck> er» uark^urtteUh gracejulbrtttt. Ckarmieya^ Oftke moaa.tain

AW*, el . on IrhAdlAwinb^ild. W)H01 yw gwe . nmu gwiw, Dol A 0)13)41 UAUt A br) 0 tytUtt tv/air.Ckttn uarkrarUiexth trattjulkrent. C^rmittÿ art tytUtt tv/air.Ckttn 0/ikt wtoenlani/fuÀandafz.^

O A W .el. on rhmdlAwwrh)dd. Swynol }*w gWC. UAU gwiw, Ckttrtvarkturitwik yrettfalbrtttt. CAoma»pare ii7e* tff /air.

Mwvn W) u jw JT A . dor k'iCtit rony... Str^t ikt f/ birds in

OAU, w ynyw JT A . dAT oir»'*'/ tkrtmy. ÿiettt ikt i f birds in

Mwyu yw CAD y r a . dAr mAO, Mw)i}yv CAU Seset.^^ ik^ soay t/birds in tkrtmy. ÿmtsiikt tsm

ym CAU )*r a . dmr iuao , tht song v/ birds in throng 179

i yw gwedd. y ewm - *1 MF=' Mwyayw gwcdd y tkrong,. muttkt Kkitt— . tlomii count. « - lout. iriti* At wkiiieloMii

Bas,- .Mw}-syw gwcdd ewB.wl gwyo, HwjD yw gwcdd y Arout, ~ WkilcAt ukitt clouât count u . /»fÿ. Me ■Ai/c clouit

m yr a dar man.— #E»ynwynyw gwcdd eUA.vlp y rT ni*B> - ffvedd y oj tirât iu Araut- - tniVcMe lekr c*ntnt m . iwy. Hkilt Ac »Ai

Schcrzaudo.

ewm . wl gwyu. ryd ryd bj-f. ryd law n cdcrie a . li,ttn. dr . âc.ligkt. A. ligkl dn/iy*/.

ewm . wl gwyo Hyf . ryd hyf . ryd hyf . ryd lawn, Hyf. ryd hyf - ryd hyf ..ryd lawn, courte u - hue. IIÏM icMfkl, tcilk grtat dc-Htkt, WUk âu.Utkt, m'M fnut dt.litkt.

ewm.wl gwyu. Hyf. ryd hyf . ryd hyf . ryd lawn, Hyf . ryd hyf . ryd byf . rydtawn, courte II _ long. ItïM Je.lifki, leiA gnat dcMgkt, HÏM dcMgkt, leitk great âtjigkt.

ryd CoTuet dc . Kgkt, âuligkt

Yw dit.taw. rwydd y pryd nawn Hyf. ryd hyf . ryd hyf. ryd iawu, Omet tke tUU . nut oj tkr. uigkt. lii'M im.ligkt^ uiAgreat ie.ligkt.

Yw dit.taw. rwydd y pryd nawn Hyf. ryd hyf . ryd hyf . ryd iawu, Cimet Ike tiiil . nett oj tke uigkt. H’irt dc. ligkl, Kilk gnat ile.ligkt.

= r f r r U ' ^ ? U w L; T"------H)f . . ryd byf. f^d ituu» . dis taw . rvydd y pryd . nawu, lliM de. iiffAt,de.4tÿÂtg Comei . Me itiU . mes» of.-- fkt uigkt.

^ Hyf - jrjd hyf . rjd Inf . rjd iâ*ii, y* dis taw . rsydd y pryd . uawu, ^ Hi7A de.ù'ÿht, leith grtut dc.ligktt Cumei M< atiU . neet of Ikt "‘JU l

Hyf. ryd hj-f . r>d hyf . ^d i»u, Yw dis taw . r»^*dd y pryd . nawn, Ki/A dtolightg icith greui dt.tighfg Ctme$ ike atiU . nesa of At uigkt. tWEl till. 180

(A » ^ F: D -i 12 J. ■■: J.^ --JVf n Yw__idis — tsw rwydd yr pryd . aawo^... Y» dis taw rwylfd Comté Me—. tiUl . mess *»f M" uight,..^ Came» ihr ttill . ne*s S iL J k 1 t/i . |= j 1 — t "I 7 Ji— ji «i-v ^ J' -«J' # = Yw_ dis— taw rwydd y pr)-d . oa«u>— Yw dis taw rwydd Chines the...... ttiU . nut of tke uifkt,—. Gurnet Ihe ttill . meet J ■■I" 1 T= w *' Yw1- dii_.l1 p t»w r rrjdd r ~= y pryd . naau».— Yw” di» t»T rwydd Camtt Me—, ttill - mttt of the night,..^ Cktmet tkr ttill - mttt ■"ZiA r : 'ZÏ1 J': j.== ■JT- 1 "-1- 1 =

u%wu . fjU h)f . hyf _ ryd i*w» H)f. r)ti hyf • f)Tl b)*f. r)dU»u With grtat 4t»ligki UVM «It. light» tcith grtat d«Llight

Hyf . rjd hyf - rjid byf - lyd Uwu, tiyf. b)-f . fyd hyf. ly^Uwu (ÜYA «/c.iighft iciih grtat «it. light U'lYA «lt.ltght, with grtat titJight

y— .. prytLuBWD ryd h)'f . ryd iAVB> ryd hyf. lyduwB •f...... tht night de . ligk» «it.light. dc . light, dtJif/ht. Hyf . rydhyf. ryd hyf . ryd ismii Hyf - ryd hyf . rydbyf . rydiauu, UÏM dt, light, ri/A grtat dt. light, UÏM dt. light, aiih grtat dcJight, m//______P 1 t tm r ' r p r j W Vw dis tsw rvyiid I y y— pryd.tls«u Cuwtt the iJ(!um*s n rrmito tht ttill. nttt oJ the might,—

ofy prydthe . bawu

pryd . n a m u , dis • isw. nft-ydd y pryd. Cower Me ttili . tie night Cornet^ the ttill. Mc«< Ü. ^ItattM

dis taw rwy dd tc ttilLnesi

“y« din t»w r»-jd(l p r ÿ î Cumettk, ttitl.Htx, Mr

Yw dii.Uw.rcj'dd Cuna tke ttiU.nui 181 COME TO ME, LOVE. I PART 80NG. Anegro . #=104. J.W . PARSON PRICE. Soprano.

CoBieCob to «ne, lore, with the floih“ ‘ of - the- S- ub «Ber; AUo. ' I' ' ''

Tenor.

Come to me, lore, with^ the fluah of Âe Ssm- mer;

Bate. f. .. . > ' - P r)ir--s-i^^ AUegro.

PIANO.*

Come with it# fre grence, its mm - sic, its adrOi;

Come with its frs grsBce, its mm - sic, its adrth; p______creg.

creg.

e#wh#Kise#Sy*e*.Mmo&M 182 l ÿ M 1' hLffl^plL/pqJ'J-W F ^ T - p g f ' P I Come whea the hird-aonga are fOl- lag the for - eat, Corne whea tae roa-ea are §yb=sb==fctbt==™^JAif-,- ■• V— k-i— IT M M " , ii 1— — 1------k-----Kr-I------tr-+H c m . * k a ç — - -— . ■. 1 -— ! V— : i"#s;v : 1 g “ r p. p ['= F k T ' P-P U u n ' - - P T ü r f ^ Come whea the bird-aongaare fU l- iagthe for- aat. Cornewhea the roa-ea are

a .L ’t f . ______. 1 hi=ti=i==4i = = ^ N = = ^ F # A = f "SJ • f ' C J / J n J n . -J . w f. -^-4 r p i r F P p aim-sonisg the earth, Come with the hlae and Âe ail-ver of d m - in g .

‘r I P r p crlm-aonlng the earth, Come with the hlae mad the ail-ver of dawn-iag,

Ëf g f iHiJ n Q,i.„ r I g j T f 1 e f o r £? I [J ^ 183

CWi8. I I r'üTr f- - I f # Comf with the Urk-MHf «ad eomewith the light, Come with the hue and the

ere». [Lan $ Comer withB thep Imrk-eomgr r u dfif. eomewith j)jvrrff.f' the U ^ t, Come with the hoe aad the ere». I m ere». r rp-p A J dim. e roll. J '*''0 >)J. •plea-dor of eon - net. Come with the etare and the ai - Icnee of nlg^t! # ë'i -é dim. e m il. =p ..p ^ Z T p y:,| J ( J J - j j ÉÉ •plea-ior of ton* tct, Come wi& the start and the ml- leaee of a i^ t! CN ? :P :f:i j?V| ^ J) K | - h hi J dim.» rail. BP r j ë: i j: '/ f ‘r r dim. e roll. B > 184

I a tempo.

-J . ------r — r— r Or come n&en old hoi -ly-crownd Win - ter is reign-ing

L n r ■ fv F,- prP fyklf T! ft FB r ,

a fcmj DO. Ï - : —i — i~I'~f'P ' 1 ^ / — --f— LN f a tempo.

^ J - - = = ------^ 3 =

i j g i U ...... = 1 5 ' : -

. : H i * q _ n — M — — — t - 1 = ^ 0 - , t i ! land Ttere aweet Sum - net has been; ' ; f . ^ — Lss—L_Z----- ' 1 1 p p r=^ 0 - Ter the land where sweet Smn - mer has been;

T j ^ t y ^ ------r— ^ f 0 F--ft— P— *-4 ------1 .. '..- * 1%____é w 1 A k # = ^ = = ^ ] j . n . i _ T " g w T i ■ ■ Ù - r ' ’ i » ! i------^ ""3- O l Ü / i <11-4.1— 0------■— 1■— — - r p pp" -- :----- f — ' --?— 185

, IlL g j » - , P r%, li , rrrn P Come with its snow- fishes, Come with its slei^-bells, Come with its gilt - ter, its era. f . . fT.

-I— r Come, come, eome, come, come, come, come,come, come, come, come with its #ill, [f 9 u _ " ___Tm— - - ——* ----- a—m-f f Come, come, come, come, come, emne, eome,come, come, come, come with its ♦ .jff: " p r p»ipTp ■> f'» r,»iP*D » Come, come, come, come, come,come, come, come, come,come, come with its

r" n n eves. " I ' r rfl I.ÜÙP pif Pk % I spar - hie, its sheen; Come Come with with the cro cas snd dsi-sies of Spring-time,Spring-

M U Æ m spar - hie, its sheen; dti------^

spar - kle, its sheen; Come with the cro-css and dai-sies of Spring-time. u^f .r ^ r r spar - kler.its sheen; I 186 cres. 'e rail. f a tempo.

p i I , i . i Come with the fall of the trim - son-lag leaves, Come whereyonreeagerly ii±z ^ cres.e rail. ^ a tempo. L V I r f' r % Come with the fall of the. trim - son-lag leawes, Come where yonre eagerly L , .

eves, e rail. i m eres. e rail. f a tempo.

p e rail.

sow - ing Hope’s harvest, Come when yoa gamer its heao-tifol sheaves! /J\

p e rail.

sow- ing Hopeh harvest. Come when yon gamer its hean-tifol sheaves!

p e rau. i M P e rail. 187

Corne vhen yonr life is a pe - an of glad-aeaa, Corne vhea ail bon-or and tW f a tempo.

Corne vheayoor life is a pm - an of glad-ness. Cornearben ail bon-or and - 4 4 -

T W m ' nj jii f a tempo. i

y e^rnH.

# Ôr idien yonrbeart is grown tr««-ry with sad-ness, : 6 k # i glo - ry are tbine, J* ® Ttil. # m Or when your heart is grown w ea-ry with sad-ness, d i glo - ry are tbine, f ® 188 ih^ I eres. f______, . rit. fjyy, ______p r~ fr Come to the love and the ahel - ter of mine. Truth ean-not chanpe,daTlIng,

# 5 eres. rit. m i . , » f ti t f — M - Come to the lore and the ahel - ter of minel Truth ean-not change,darling, Sf Pi;-i2Wr^j) j) Mf r? cr

A Andnnte s Faith cannot fal-ter, Death cannot kill tho’ it atrik-eth lore dumb; And if yrmi'i,rj[; ~fjj miM '■ ] rffJii. rail. K Jkndinte

Faith cannot fal-ter, Death cannot kill tho’ it atrik-eth low dumb; And if IO r — p pr m rail.m dim. Andante 81 M G a raU, ,/r r" J p 189 roil amove.

deep - ing, my dear, ’aeath Gods Ter» daat a ere, The con amove.

ere. The

dal aies will adds - per your same when yon eome.

dal •lea will whla per yonr aame when yon come.

f F 190 rail.

dml

dal ties trill wUs - per your same when j m «me, come,

rail.

rail.

F = S

à tempo. y i . '

Come, «me, «me, come, eome, come. creg.

Come, come, «me, come, come, «me. [gwtpo. ______

come. come, eome.

come, come, I a tempo.

cres. 191 £AST£B ANTHEM. “CHRIST OUR PASSOVER ”

Met. J = 80. «ne«. J>______Soprano, $ w Christ our pass-o-ver is sac - rifieed for us, is A— Alto. m crci. —A— Tenor.

Christ our pass - o-ver is aac- riflced for us, is Baas. g ercs.

ORGAN j-' or PIANO. T j j j - i ) i j

dim. dim. m m sacrificed for as, therefore let us keep the feast. J jTj dim. erea.r- r IT r r cf idim. sacrificed for us, therefore let us keep the feast.

erea. I (Ï i" -& I I y, rf/m. J

Mfrr(|U IW7 k)T wi A.eeRD*ct 192

r. r r i r i Christ our pass>o - ver, Oirist our pmss-o i Christ our pass - o ver. Christ our pass-

$ Christ our pass-o - ver. Christ our pass-

TTJ T=rr J J J

r-=g=zj.t:^ m - ver. Christ our pass-o-ver is sac rificed for us. i J. IJ Jl - o - ver.

- o - ver, Christ our pass - o - ver is sac rificed for us,

•f r H F f "r I r ■■ J - j - i "* - —

J J J, J L $ f i j. i I É h^fr~ r r = F 193 TRIO. I ; Met. #=60. therefore let us keep the feast. Nut with the old É■ J ...... I------:------1----- ■ I t - ■ I-----& I I S p p m therefore let us keep the feast. Not with the old

J l i m Met j =60. r Vg; É p cres. dim. i leav-euy neither with the leav-en of mal-ice, of malice and

W #T'".'rp P û p p i i T l leav en, neither with the leav en of mal-ice, of malice and ^ crcs.cres. dinj, « 51—». _ pi P p ir J g 194

Wickedness, but with tke uu - leaven^ bread of sin $

i ‘ .J' Jl -r i wickedness, but with the un - leavend bread of sbi-

f':-P (S /T\ g

r r r i r -c e r - 1-tyty and truth, of sin* cer • i-ty and truth. $ f r I r r -cer* i-ty and truth, of sin * cer - i-ty and truth. I i f J TT 195

Tempo I? (Met. J ■ 80.) ere». Jl j w i Christ be-ing reis-ed from the dead, di - eth no ______eres. ^ , j f. $ M J'» J i r r r I r rmCfCK. Christ be-ing rais-ed from the dead, , J- ■j I r-' Tempo I?(Met. J * 80.) 2 = 4 = I I*' À i cres J J J J

— y ^ / - j = l " ------J i p " —» f— -— # ------:------f - H - j ' o ^ ^ ' ' pr : W more, di - eth no more; death bath no more domln-ion

J ^ I r' pr $ more, d i- eth no . more; death hath no more domin-i

$ f PP J. J- J)i I i 196 Solo. Soprmno.

ver ForHim.

ver Him.

Him.ver

Andante.

t e r

once; For 197

------'1— l ] - T - n ---- p-*— p"^

in that He died,...... He djled on - to

' h J " " 'i J . — .J,J , = ? ~Cl~ ir* t ' ~— j Allegretto con anima. M i sln once; But in that He liv - eth. He

•J O T f w r t -Ji----- f f' fi r r i i n f ' n \ raU. liv-eth u n -to God; but in that He liv - eth. He

liv-eth un - to God /T\ i J: 'J É n f i J- r s i i f 198 SEM I COBO p Largo

Likewise reckon ye ml - ao jonr-aelves to be dead in - i ? # Likewise reckon ye al so yonr-selves to be dead in- p-f I r P p I B SEMI CORO.

p Largo

7 J Ji| |> ■ p p I [> -deed un-to sin. But a-lire un-to God.

$ ^ tnarcafo. s ------»— 1pq r - pq P P g n g ÎT - deed un-to God.

V -p i w p ^ But a-lire un-to God.

$ m n rr f marcato.I f à 199

bai a - live un-to God, but a - live un-io

but a - live u n -to God,

bat a- live un-to God, bat a - live un-to r _ , f. - r ^ T -

eres.

leg-afo.

through Je - tas ChristGod, Lord.

God, Je - tus Christ OUT lo r d .through

legato.

legato. 200 CHORUS. Allegro OOP spiriio.

Christ en fromris the dead and be

Chi'ist ris en from the dead and be

AUegi'o con spirito.

come &e first fruits of them that slept

. I dr Gt f come the first fruits of them that slept 4#----- #--- ike-- tJm 201 Grave. (Met. J « 60.) creB. C\

P For 8iuoc by mim came death, for «dnce by man came death, ____ É -J [-p —J—j.. For since by man came death, for since by man came death, j> cre.s.______i ^ . I . _ ^ Grave. (Met. J =60.) a “T F j _ J = M -fflL r # m ?

by man came al-sothe re-surrection of the dead; by r -, m£_

by man came al-sothe resur-rectlon of

Allegretto.

mf 202 r r r rrir i i K r.iF=#. m»n came al-sothe re-sur-rection,the r e- surrectionof fhe dead.

1------^ ■ i. ■ I ■ ■ ^ 1 L- r / ! m I

man came al- so the ro- suT-rectlon,the re- surrection of the dead. |Tft|- I lllî^ f I I If IT 'II I

7 y f = r

p Grave.

die, for as in Adam all S.

m For as In A-dam aH die, foras in Adam all — nf J J

Grave. r J J J C\ f = f f =P i à T # T 203 n\f Allegro J-i i i I i £ - Ten so in Christ shall all be made m - live, shall

e-ven É pi p p r f’ £-ven so in Christ shall all be made a - live, e-ven

J) n P T V V P Allegro.

$ m ; s a ii

» r • g p all be made a-live, e-ven so in Christ shall

so in Christ shall all be made a-live, e-ven so in Christ

P Ip P p P r-'W so in Christ shall an be made a-live, shaH an ' be

r - - V f

e-ven so Jn Christ shaU 204 l@ r P r- r , r' r ^ all be mad a-live, shall an be made a - lire; in y— k "h "N ..h - l - - : -I ■ I- ^■-- -1 4i » 1 ÿ r - f r p i r r . r j-.i l i i made a-live, shall all be made a - live; in fi— ia^-5 ----- # ' • ■•— ------0-----la 1 f ? ? 1 r 1 I- an be mad a-live, Jl j-rj if 1 J - - i - i-ÿ=":Bk 1 g iJ -[jiJ r • "p f - f - 4 / —4-'P— f— P r------— a-* ------0^ ------r r 1— A IL zp —F------P"^ --3 - a ■■ P 1*—

m p $Christ shall a il be made a - - live. TiTTfi Christ shall an be made a . live. - » m

J—I

m IH J— J- J — j- r = ^ T— r r j T ï ï Gloria. 205 Met. J- ^ = 80 r f . - # Glo - ry, glo - ry be to the Fa -ther, and to the i m

m rTf-~r: m Glo - ry, glo - py be to the Fa - ther, and to the r\T ~t Met. J= 80. LJ J - l - J à u I f i $ I f : = F = f 4 Î J i .1. - J. J. r = F = r

É g J J TJ j» ' Son, and to the Ho - ly Ghost; as it was É ê

Son, and to the Ho - ly Ghost; as It was i j .- 4 J r m j ' J 4. 44 r 7 r . # r 206

—P----"—f i~' ------*— f -----p— ----- # t" P------P-----P— g —[ — [ _ LJ------—PJ------L±J------1 .14------f— M in the be-gin-ning,is now,and ever rnhrnU be, world with-ont

J 1 1 11 1 1 . 1 1 I I i l i- I I I i-n -i 9 0-----0—j -1 1

^ ------m P I—®-----P----p----p tfp---* fcp 1—p------m ^ g r I i f r-T t - f -1 1 T i in the be-gin-nlng, is now,and ever shall be, w<>rld with-out

** ----1----- 1----1- 1— 1------J------a— r . f - i ------1------1--- J 11 1 -r w

j — jj—^ -•j' - i -fJ^ ^ -J-j-i= J = ^ 1 J J J1 & r f r r r T r~' f = = f = - f l ; -j: J ^ L----- g——J—J-i I f r f p i —

dim.

w p end. A - men. A - men.

A — — men. creg.

m end. A - men. men. Glo ry be to tlie

dim. h I =î h pres. dim. . l i - ~i i J. i J i __ R ", . p7.r" :: 207

■#— #- Iff r-p-PiT 4

Glory.be to the Father, d o r y he to the Son,

Glo ry be to the Son,.

Fa - - ther. dory be to the Son,

Glory be to the Father, } 11 n.i i r f f =[_f:=f=H= 1,7=- 4 4 = T-n p ■ ^ r r T- $ i Glory be to the H o- ly . Ho - ly Choat

Î # Glory be to the Ho - ly. Ho - ly Ghost. 4 i

fJ J ■ J rs. J ..,1 e.1 CJ 208 e - ' r r ip-'-p r r r 1^- ... fjAs it J i-j, was In Jl theJ be- J 1ginning, J J ^ isTj A------1---- *- > I-# :-- 0^—0- e—1—#- 0- Î- #— 9------' : 1— :—.fgr — ri—rV'— r-T-^^^-r T—r— r r-rh" i:^--r— r --- 4 u As it was in the be - ginning, is ft - ^ -- ■=■= -4- - N t=i==^=*=^ ere6. p J>j i|J u 1 i4 — 4>i j 1i-j- -j , j 1 - -■- K ^ r ^ . J..J ‘n r r J J 4 - - r ■ r r lr--p r r ''t r ^ r ' p er-er shall be. world without end. A - men. /L ---

i d> S-» f Y r (O É now,andev-er shall be, world without end. A - men. _k A , H L =--PJ*. ij-j -JiJ J J J _ b L Y = f ['— r ^ f iJ- J)J J J J tjz Y" p r r M f r Y # 209

iw G lo -rj be to the pjL—

T' -r ~~r r Clo- TJ be to the

A . m

Father, and to the Son, and to the Ho - I j Ghost as it

Father, and to the Son, and to the Ho - I j Ghost as it 210

era. e rail. J . é ' rà J . ê i M’as im (he be-ginning, is now,andever shallbe, M'orld M’lihout

$ 1 cfvs. e rail. il r 't'T F ir-f ir'prri'rr'^T ^ ' * ‘ ' ' r '**** M as in the be-giuning, is noM;anderer shall be, M orld M ithwu< J m m WT e ra . e raU. r r r rr r r prr cres. e n%H. r r r r- p r r # /T\ JBT a tempo. , # end. men. A - men. A - men. É # TJ"

j q l m $ end. men. A - men. A - men. É m ; y JQL

* éI f J È 211

L L W Y N O N N . (THE ASH GROVE.)

English Toctry by T. Ol.iriiAXT. J o n n T h o m a s . AVdsli Toctry by X.VLIIAIAJCX. ( Paicerid Gicniin. )

4 -

— ------; = s = c '9--#--9-- 9-é -0- -0- -0- -0- -0- I i II 1. Yu rliod - io yr yd - rryf yu is • el fy ngbal on, Hyd las-srellt a J. Dmcn you - c/cr green tal - leg iclicrc tlrcnm - lets vie• an - der IV/ica ta i - light is 2. Ma’er liaul et - tu n g«cn - u ar dlys - iii y tcw-lwyu, Ji 'r aw - el yu ?. Still gloica the bright sun - shine o'er - ley toi and vioun-lnin. Still tear - lies the

— — 1— 1— -1------rs— '— '— J— d— J 9 f = g = d = H q — Η f : -tf— •— •— •— LJ--C--*-- 0 --J--,-- 9 9 " 9 I mus - og cys • god • ion Llwyn Oun; Er tryd - ar man ad - ar a /ad ■ ing, I pen - sive - ly rote; Or at the bright n.on - tide, in dinar - cu ar del - yu y dail; M.ae’r ail - ar yn tryd - ar i blaek - bird its note from the tree;Still (rein • bles the moon • ieam on

: Z Z p L- i F

•0- -0- -0- -0- -0- •0- I I miw - sig a - iTcl - on, Mae gof - id a thrist - yd yn lleth - u fy sol • i (ttde wail - der, A - mid the dark shades of the lone - ly Ash Ion - i y gwyrildlwyn, A min - nan mewn breuddwyd heb syl-wedd na stream - let and foun - tain. But what are the • tics beau o f n a - (are to

_J_ - 0- : 212

L L w y N o N N.

rff-g-r#— , :Pi- - 1-

inrou; Fau ym - a mi w cl-aia y feiii • «en an - wyl - af, A - iilolli - iad o Orovc. ’Tieua tkrrc.Kliile the blnck-bird was cUcrr-Jul- ly tiny - iiiy, I first tint that snil. Vil s>>r-yn i’r biml-aii, y cnnl, a’r a - wcl - «ni, Yii is - cl ac me. Il iV/i sor - row, ticrj) to r - row tiiy ho - som ts - la deii, A lt day J go

-hS— S 9- ?— ± ïbEË îE

floil - an'» en - roii - i ei Ym - lililli y liri - all - u hi dear one, the joy of my A - round us fo r glad - ticss the olii - us, ao ys - ig fy luiou; I'a Je mae y feiii - weu a moiini - iny in search of my lore, i ’e eeh • oes. tell me where I. # P# #--#--- r # — —#----- 0 —* T — 1— I—

morendo. rs-4'

rod - iai yu ar - af Me - ddyl - iais mai duw-ies a rrel-ais is uen. blue - bells scere ring - ing; Ah! then - littie thought I, how toon we should part. srryii - Olid fy nglial - on ? Mac’» him o yn daw - el yn mon-went Llwyii Odd. is the dear maid - eiiT She sleeps 'neath the green-iurf down by the Ash Grore. Z jiL P-2-P- m: •— 0—•- 213

My Blodwen, My Darling, My True Love.

DTPABBT.

K M . J « 6 S .

$ J JIJJ JiJ j J ir [jJf ! TUX.

T = T

Andante. E stAV. I In 31 .n In .« x- .f In :r I— a i t :1 .• If J >-.# 1

A py ly Bbcfe.pnth, Ibc's dda. g«n>yf trtl-ad dy A JTjr Kod-wmjt^iÊrJmg, m#r fw.wwWyWnA ^ f

irwMf;

CtfjiiOit IMA, for aU CoaolnM, by D. J. SocU.

1W Mon— I U n o y of wol 214

L f i l ' j .1. 1 - + ■ 1 ■• 1 T 1 1 M T ' = 3 = = = = = ^ = j • ’ h r f i Oa «fC. J r m f __ mu

Ut »* jtf id' n t— A Itf A W :t* It t— I— n |

od£-ar • aaf Oi ibwyKMjdCdArT'kir » thzMd. Ifartn m m . itr . Jfy tfi • ta ihfim . itm n - 4bm, A nd

f _ _ ___ ^ n n 1— — ^ ^ ^ — r r r r f------i------=1r r

by* tcydynrindd * di an - a^Memcv - char fel - arAea j gwaad.. anh «a £le dark. aaf tf ém- gimuJUmttig^ tf tie Amg - twt adana

Dr. fkrrya filddwva* Blod - «en fWwyl>j^, t f abcè Mth, Mufn dda jf #*l.«d dy B b d -

I m I

:r A

ir 1^ r f-j- ■■[ J 1 f ' ' * r ; r wedd: Otad ijyeh - e ddwg • mn fy i n a i ; A ti «WMM fly de • emmf • fly ayr

' - A V b ------f . # - f g iJ~ 1 .^1 r i ,j II l i ' " ' L i ' I ' f i' 1' 1 i

cth M.f dwy-&on ^nr-el mews head; bve Tig Eaw-rM wdl toon ie tt rat;

m

M i

trcb - ^ éy ddmg - mu fy ages * eth, Vae dwy - Ann dy ^rw - el mews hedd. eeae tig la - wm t - my (me • fmw, M y Am • etf we* I»

1 WWW • 1 1 A c ■me ~ V t -jt-aoi^ tma Bon >0 A 1mût im’ mr Mivcdd ■j T k f it • ion timigm vet mt. iar ~ Hag Ite imm.iagwtftttti m

P r r 1 r m m

{U ^ H u r n i £ r U 1 • i pa«Mdpd«iihiid-o I tfrwy^ « ^ch-wel j a lie hmÊfU/itmafimtiiiJUiétr^imt O t ^ m i wmU»!k»i ^ tit

Dr. Skny'*'IQodwn' 217

lid I— :

lit rt a Id' »• ji' Id' a I— rt id* a jT Im * a * jd' It I— a I

cad • w hi’n(fyn ar dy p i - «0, I gcf • in d|y gar • fad fbyn4 ffar in» -tan it mg m ddy èo - aoai, A MR -afarfie-wn-lneiesif n«, J t

^ !'■— = L S V- ^ m m S J J J » J Jj J ' ' : j r . ■ ■ :y j - J r J - J .

lid' a \d ' Ix* ft' ,i' 11 :w' Im' :m' I m' I— In’ :t' Im' I—

wel i ti Blod • we^ fan ffydd* Ion, Onddy - ro in* gus an cja mynB.. M Oewft-te - riaakm~*f - dir, Mg tàm^UnkoUbe • a«r g f Urn.

■ AV 11— Η I" Η I— I— I— Ï— I— %—

0! 0/

D'- Turfê Blodvt 218

II" I" J I" :r I— :r It .d j U J t - j I" . t— I— :■ t

ad • w hihdamr dy a l . on. gof • io dypu^W ifth it tfii Uf ie - eem. A em-Hemt tmmlmntitif a j

fia :1 .a If ." :r .d Id t- k U la.t»-.llf.l fil

m m . .a la d ^ If M » jt Itf »- It :1 la :d J I" 3.") t e ç G r ^ ■ r r II r t'k w mynil fütf-wol i ti Btod>iaon,ftm fWd • Ion, Ond dy * mins’i u - eaem Zw6 . Aê I» ttem^.ie . f i a m e i m ^ . f tr i ÿ Ome^tùuUme ~ m r ef /7\

Ond dr - ro fan" aa-an Jfy dbâgdd eieB «a e - ver Ir S / * f -f ? f -il : f ^ ^ - r f r 1 ^ » ♦ tel Ütl ^ » :a la d» j la J : A I

Ond dy a im'gua-an e n « n ’d.. UmgltMk^ti e.ver^

Dr AfryV Btwdwco. 219

BwpatUallr DWkmW to TkMM WUltoat. E*4. . THE RIVULET. A Cus roK Huso Veicss. <}\ PUBUSKBO BT D. O. IVANS, TOONOSTOWN, OHIO. ...IKodWby R J. B sa m ish , Esg. D. Psorssmos. Hu* B*c. Allfgro Fir (tee.

la the cloud-land. oo jroo moualaia. Winds a mil - «cr mym • lie

In the clpod'Usd. Wifids # silver m)*s - tic

10 the clood'land, oo TOO mountain. Winds a silver mys - tic AlUrro Vivace,

chain, Plosbiog down - ward like a fount - am In a mist • y jewrled chain. Plashing downward like a fountain In a m m y jcueted chain. Plashing downward like a fount • am In a misty jeweled chain Plashing downward like a fount - asn___ In a mbtv jeweled

Ceprriebl. iml. by ti. o I» 1.) 220

THE RIVULET. Continued.

m a. pQibiaf • er Ibroasb the gptt - am. Laagbiaf tike m kmrry

m a . PamWag «▼ - er tkrpagl) the forf m. Laagkiag like

m a. PosbiBf ever the forf • ee. Laafbiag lit»

Pu&hiag ever tkraofh the forf ' fc----- .mes— I

— r I — chad; Roariag «bare the rncki b Isf • In - to ferai ftoteiqac and

$ m child: Boazini whaia tba recki it fotg . aa. In • to ieraagioM qiie and

child; Roaiinf when tha ncki it ioig • an In > to feraa groraqne and

child: Roanng when Ih an ck iit foiE • aa. In > to feraa frataaqna and

ShiBiraM. •*») 221

THE RIVULET. Continued.

In - lo {ornu groUnqnc and wild. bio

wild. In • lo tdnna grolaaqoaand wild. Into bnm gtolenqae and tret

gmaaqao and wild, grotaaqno

b • In forms grolasqao and wild, poteaqne and

tret.

wild.

wild. Bat when win • tar sritb an

wild. Bat when win - tar Laden with an i

withBat when wii ter withBat Laden srith

Tbeltinkt. Opn) 222

ï l l l i KIVULET. Continued.

btcath. Then the bngb • te r is it freer • ee. Stilled it ie in arms of

bm tb . Tbea the langh - 1er in tt fiver • es. Stilled it is to arms of

biestb. Tbeo the laegh • ter in it faees - es. Stilled it is in arms of

breath. Then the laugh • ter in it beer • es. Stilled it is in arms of I h I h I J > I

Dolct.

Death. And the son • light hiesitig sad • Ij. All its cold and joylem face. .. Seems to

Death. And the son • light kissing sad • ly. All its cold and joylaas face.... Seems to

Death.

Death.

Dolce.

ThsXifelcC Ani) 223

TH E RIVULET. Continued.

c *---- 1— --- r ‘ -I I 1—k I— r «'oa • der when it, gUd - ly. Will re • same its merry race. WillWill rere - • tametame it* it* - —K

oo - der wbeo it. glad - ly. Will re •same it* merry race. Will rexome. re ■

JuLïliÿ; = ^ ^ :â==:^F= -*--- tH-- 1--- > '— /-I------Seem* to won • der wbeo it, gladly. Will reeume its merry race.

— —^ t I t- - tr ‘

r ^ ' g r : I y>'/

—I— - r ■ I .‘ ‘^11, , I - F r m

liair Tempo Primo.

merry Wbeo thy lace. Oh. atreasi, is glcammg. la the

When thy lace, Ob. ,a|laamiog,lDtbe t'*:*

Will reaome its merry race, merry, merry race. Wbeo thy face. Oh. stream, isgleacb;.

Wheo thy face. Oh, stream is gleaming.

SbtBiiakt. •**) 224 TH E RIVULET. Continued.

i-day wia: Tboo art like my 6i • lal dnaaiog.OI ihe

laya of Thou art like my fit • lol dnamisf. Otihe that life tbonld

Id the nys of oooeslay Tbeo art like my fit - fol draamiog. Of the that life abooU

ta the ray* of oooo^lay aoo: Tboo art like my fit • (ml draamiog. OI the

e r a

% But wheo lee - bonad and for - aak - an. Tboo doat rack mor heath - ar

Bat wheo ice • bocod mod fonakea. Tboo dost rack mor heath - cr _m , . .. *—

Whan for > ask • mm. Tboo dost tack mor heath -'ar

TkelliniM. *«>' 225

THE KIVULET. ContinueJ.

foco c m . f — ' ' ' — — — — r —Æ— I ^ a r r # n 5EÈcÉÊîZ^î:£^^fe=î5Llfe-MEL-^ .:É kiss; Wailing for oe# life to wak « eo. Thou art like c • 1er • oal blis» W.uim;;

kiss: Waiting for new life to wak • ro. Thcu art like e • ter - oal Wi^s

kiss; Waiting for new life to wak - eo. Thou art like _r - ter • o«*t blrs

heather kiss; Waiting for new life to wak* eo. Thou art like e > 1er * nr.l i.li*» ■ -1 — J '■' r i "1 r —J " " ' f <^'T -I -g M ^ ^ —i»—# — # «

•*• ♦ ' %L.' I I ' poc* c m . k I ^ , Dr/cc. >1 > , A -W - - - m * m ^ "% • p— = — - i _ r — 1-— frr_ g:p:jcp^.f-r T' r-rz:#— »: r?=:zLZE=L#W - [ ^ ^ ■ ‘ ■ ~ — :_ : -I r—cr

oew life to wakes, bliss

for oew life (o wakes.

1ST.

Tboo art Ziki e • (er • sal bliss. let oal

Thou art like e * ter • sal bliss.

i ± * z l Tkf (fpn> 226

TH E RIVULET. Concluded.

i m Art like e - ter • lu l bliss. Waiting for new life to waken. Thou art

bliss. Art like e - ter - oal bliss, Waiting for new life to wakec. Tbou art

Art like e ter - nal bliss Waiting for new life to waken. Thon art

Art like e - ter • nal bliss Waiting for new life to %vaken. Tbou art ■ • J • J ^ J I ! h

J in //.

like c -te r-e a l bliss. Tbou art like e - 1er • oal bliss. g like e - ter " oal bliss. Tbou art like e - ter - nal bliss, art like eternal bliss * . g- m

like e * ter * nal bliss. Tbou art like e ter - nal bliss, art like eternal bliss.

like e - ter - nal bliss. Tbou art like e 4—r' SI ' n A t I — [■

I I. I I. 1 '- 'r J. ÿ.~^:i===i==r==i^.r:=T=^-l-!S=^--^ r ~ ' I I 1 111* Itivttlct. (Spp' 227

SUMMER NIGHT. HWYR-DDYDD HAP. SERENADE.

Y Saesneg gan T. C. E d w a b d s . Y OcrddoriactB gan Y Cymracg gan DTFED. — — T. J. D a v ie s , (America.) Andante. M. J _ 63. I S TBKon. TENOR. K K cUaet kcr bead is •ad.Bcsk, To ptydd . a’i pheo yn d a . «el, I

IS B a rs . 2 :^ B a ss.

pla . cid, is ------pla . cid alum. ber Boa, droa y---- BOa me . lot Tra

mil tbe___ billa. 1b bo . ly red . Bcaa Praiae p o b ------brya gog . O B . iaat

a*l.fc H* O N. 2f UrfrcaU Tkm Wmlanal Ubnay ef Walaa 228

A f = f clouds to . (e.ther ■vim.aiac With fan '. cy__gold.cn ting . ing. And Y clan {jTD.yl.au Mewa mûr o _ _ bur o gon . iant, A 1

through the lum.mer’i ev*. ning light, Breex . ci aoft . ly aay 'Cood night, good night” And thray daw . el . wch hwyr ddydd ha, Sia'r a . wel fwyn “Ko» da, nom da;* A J

the turn . m er’s eV. ning light, Breex.e» daw . el . wch hwyr ddydd ha,— Sia’r ii } ^

The flow sad - neas And blod wyl . ant ddag.rau ga . 1st, Can

fore the 'en tide,— While pen . o daw el, daw . cl Tra’r

auaaca micnt. 229

I efrtL

CCI Jti And ya ----- . fod fel breohin - es A'i

with shroud- the werld doth llen- cudd . io'r byd. Ï»-

in the_twi.li{ht rls . tog. From peace . . fuLhesrth'sre joic . scg And Ac yn yr_h«yr j-n O troo.au IIjkii o I yn . i, hSae A i

sum . mer songs with Toi . CCS light, Breex.es soft . ly say "Good night,good night',’And SM per.cidd. iol ger - ddU ha, Yn - a’r a _ wel dd’wcd’tCos da, nos daV Mae i i

stun . mer songs with voi.. CCS light, Breex . cs soft - ly say "Good sn-n per.cidd - iol ger . ^ J ' a . wel dd’med "Bos J

•unacs RIGHT. .«t.TEYRNASOEDD y DDAEAR, A c. Salm Iviii. 32, 31. 31, 35. 3. A. hijorn. B«riâ>A / Allttr» TlniMn;.! ;n rtilMJW U«lbc*l^ Mil tor.il, IStl —— —^ I %^-fi t *~— rriorarii

UJutv; Ic^tunfocOJ y üJupmr, caomulRi-li yr Arj^lwyJJ; ïlEliSlSliSli Tnoi.

DUS. . O' • •P" a »0-0^ ^ /» O' ‘C’

DiJt Solo . Amd#ote._ /I (Ji'Ai-.T.Tn: AMii Ci!o»i» O ta Hr-rAt IX CuotiM.

y c Yr hwo a fvrclijrgar uef ; ocfoeilJ, j rbal ootlj (liued; Vr Lan m fcrcLyg ai m f y Ulioddatli i Uduw gtdcraiJ, lUiuildavti i IMiiw gtiUtiiiJ, U'ioddatli i lliiuw gaJtrniJ. _...# M.- - --- ^ " I' w ■ .» r f n i z L z L ------rz.4-11-4— -J : iï i ü . liiroodil, y ibai oodd arioaJ. Wela «f«_ yn anfon _ «)I#- Icf, _ Wila .«ri -#- jn

aafua ai taf, a hooo yn llef narlLoI, ■' a Loua ya llcf iicflliut ; Wela <(• '

: iligÿüiSBiiisc yn «Qf^Q ci )«r, • Uooo jii llcrBcrltiul, • liuoo y u ll<( oitUioL N> W O Farhad Teymaaocdd y Ddacar, &c.

Mi oriiclii:liliT oyilil nr Inrncl, »'i m rlli yn yr wylircnaii, n i it rlti yn yr wylir«Miiu; El o. L.heMer nydJ nr InranI, El oriielicIJtr nydj nr Itrael, nl .ntrlh yn yr xrybr-J

‘ .. . . a ^ . . / " ^ ■ .4, ' * . ' '

f ". • i . Cni'niw. Crnra, Anitantn Afiriiu. %=::p==:::==— j:

_ r . •■■•....■. • ., . ty.-* SEÏ5Ë3p335{3EEgE^pâfe5@ïÊp^ ' — ^ .«W— I ^ '*‘4^ l) ^ !• I ■■ ■ » i « I ■ II 1» I —* — » — — — ^ «I 11 A «. J l « a m «nnu, n’l nrilli yn yr »ylirrnnn; ‘ ' Ofnndwy wyl.î) Dlnw, o'Hicjrrgr: J.

p f . .. . ' .. : T : : Dt%^in&rizy*:â%^vib^fr}9pi:)VH

l>u« l«riM ) w #ff, jw «fc,»)'(lj JÙ rbuddi «trtli # eb#d#rmid ' 4'r t

ls> w Parhad Teyrnaaoedd y Ddacar, &d.

t, >v if*. lydd^D rliiMdl ntrili m chiiltmlJ l> bob • al; Duw uratl yn afi^ jrw of* tydj ya rbodoi aarih ■ ebadanld i'r babo), yn rhoddi<

Duw Itr*«l yw afe, yw «fa ayJ I ya rliuddi oarth a abtdaraltl l> bobal, ya fhoddl aattk a abadàfaM'iV bobol, af>|

aartb; Duw Iiraal yw aft, afa aydd ya rboddi arrth, aydd ya iboddl aailb ft «ktdanJd f r bebal, '. afa aydd ya rbaddi •atikl'r babai| D aw

yw afa aydd ya rbaddi aaHh a thadaraid l> kibal, ' f fé ya fhoddl torih I'r botel: Dav Utmi ywafa, yw afa aydd ya rlI rbaddi " a a Jitrth ahtdaraidd Tr I'r bolrtl, ^ aydd ya rbcldi aarlb a cbadataid; Daw laraal yw a k yw afa, aydd ya rbaddi aarlh a abadarald Mr Ji

^df a aydd ya rbaddi aailbàilb I fr babolj Duw laraal y w afa, y w afa, aydd ya rbaddi aaiib a ahadaaald Ir lab « a l ftaKb a abadarald Tr f

f e r — s aatib a abadarald ir bobal, y a rlwddi aartb a cbaJoroid i'r bobal, aft *ydd yn rbaddi narlb i'r bobal ; Daw Craal J'f * fat T * if- N) to NJ Pmrhad TejmuiMedd y Ddaetr, &o»

■• Duw brMi jw

yw afir ^ d d y a rboddi aatib k a (btdrrald i'r bob • ol; arttb a abadarald i r bobal | afa aydd ya rboddi aartb, a( • ■ 0 - m

Mlib a--abadrtaU • Tr ' ; bobd; of • a aydd ya rboddi aatib, afa aydd ya rboddi aartb, arddya rboddi aartb Pr bobal j of-

- « aydd ya rboddi atiib a abadarald i’r babol jm rliadJi o«rtb, ;■ vhoddi ■•rlh tt bobol; afa aydd ya rbaddi

■<Ê-

•aarib, •■*• ••>. afa aydd j aartb, aydd ya rboddi aarib 0 chadaroid, acrtb bb, i'r bobol; Ibiw Iiraal y « afa, y a afa aydd ya rboddi aartb; Duw Iiraal y# af

7 .. . T"*r • — ---- —• -o- ^ ^ a aydd - ya5‘".l rboddi aarib, < • 1. afa aydd ya - rbaddi aartb a tbadarafd.^ aartb M a__ abadarald__ fV bobal__ ;

Daw laraal yw ofa, yw afa aydd ya rboddi

•aailb afa aydd ya rbaddi aatib, aydd ya rboddi aartb, atrib, aarib a cbodtraid i’r k bel; to w w Parhad Teymaaocdd y Ddacar, &c<

fccG'»*©!! T I .1 , .«'T .» • • , I D u w liraci yw «fo, yw ( f a iy d j yn tlia

•*^■4 ■■■ «II J " # ——4— »mg&—.-.Wm, W — " I—A — w* -» * •* » —— • _ »W. A A , — «--w V a ^ . W» 1 m J > i ■ « » i a = . . - I — a.., , '-«W. - " * <7 ••■ '•. bobol; Dnw "" Iirael "yw tfo, yw efo lyd I yn rlio.Mi nrrtli, tfo «yJ>l yn rlmMi n rlh. ofii »y I I yn iliubll litrlli, tfr ayiM yn rlimMi n>illi, «I re : t a n. qam b y b o U a ja JDuw. I la• Ma j , liir f a mm M l aa y maa w *fe, # A

■«, •yddyothoddinertb, (yddyo Ac.; Duw IsiacI yw «fo, yw, tfo lydd yo rliodJI nrtlli, aydd yn

•'______- * ■ ' a . Ananio. '

aaiiu,■étlba . #r* afa ' lydd arilil yn% n »limtflSrlioddi nerlli,m#*lh aydd ai’ilit ynvm *lim1

• •jrdJjB tljO^Ji DCrtby * #fcf - " P f IvJJlyJO vn yn lliodji nfrlti. nfrU*, vn ynrhotlJi rtioJJi nnlli o rilli m rTiniIrmiil m rTmilcrnid i*rîV botullin lm l :• Hcniligcdig Duw. I i:e;z#rl:p:P:pp:F:j—

ro w b> 235

Psalm 68:32-35

Sing unto God, ye kingdoms of the earth; 0 sing praises unto the Lord, Selah.

To him that rideth upon the heavens of heaven, which were of old; lo, he doth send out his voice, and that a mighty voice.

Ascribe ye strength unto God; his excellency is over Israel, and his strength is in the clouds.

0 God, thou art terrible out of thy holy place, the God of Israel is he that giveth strength and power unto his people. Blessed be God. APPENDIX E

WELSH HYMNALS IN AMERICA

Hymns (from appendix F) that are contained in each of the hymnals discussed in chapter IV (indicated with an *) are listed using the numbers assigned in appendix F.

*Blodau Pazadwys (Flowers of Paradise). Chicago: Meredith, 1880. Compiled by John Roberts. >Contains #3, 11, 12, 13

Caniadau Moliant (Songs of Praise). Youngstown: Lodwick, 1898.

*Caniadau Selon (Songs of Zion). Utica : Roberts, 1847. Compiled by Richard Mills. >Contains #4, 5, 8, 14, 16, 19, 22, 26

Caniadau si on sef casgllad o hymnau (Songs of Zion namely a collection of hymns). [N.Y.], 1827. Compiled by Prys. Text only.

Caniadau y Cysegr (Songs of the Sanctuary). Remsen, N.Y.: Everett, 1846. Compiled by the N.Y. Gymanfa. Text only.

*Caniedydd Cynulleidfaol (Songs of the Congregation). London: Welsh Independents ICongregationalistsl, 1895. >Contains all but #6

Casgllad Dethdledig o Hymnau (Collection of Select Hymns). Pottsville: Harris, 1857. Text only.

Casgliad Newydd o Salmau a Hymnau (New Collection of Psalms and Hymns). Utica: Roberts, 1855. Compiled by W. Rowlands. Text only.

Casgliad o ddeuddeg cant (Collection of Songs^. Blaenau: W. Roberts, 1867. Compiled by Lewis Jones.

236 237

Casgliaâ o Donau ac Emynau (Collection of Tunes and Hymns). Dinbych: Gee, 1879.

Casgliad o Hymnau (Collection of Hymns). New York: Carlton and Phillips, 1855.

Casgliad o Salmau a Hymnau (Collection of Psalms and Hymns). Dinbych: Gee, 1857. Compiled by R. Edwards and E. Thomas. Text only.

Casgliad o Salmau a Hymnau (Collection of Psalms and Hymns). Utica: Griffiths, 1863. Compiled by W. Rowlands. Text only.

Cerddorol trysor (Musical treasury). Rome IN.Y.l: Meredith, 1857.

*Cor Drysor Americanaidd (American Choir Treasure). Utica: Griffith, 1891 and 1895. >Contains all 26 hymns

*Cor Drysor y Bedyddwyr (Baptist Choir Treasure). Youngstown and Shenandoah: Thomas, 1887. >Contains all 26 hymns

Cor y Plant (Children *s Choir). Utica : Roberts, 1866. Compiled by W. A. Powell.

Cor yr Ysgol (Sunday School Choir). Treherbert: I. Jones, [?]. Compiled by Emlyn Evans.

Cydymaith y Cerddor (Musician's Companion). Wrexham: R. Hughes, [?]. Compiled by J. D. Jones.

Delyn Aur (Harp of Gold). New York : Hughes, 1868.

*Drysorfa Gerddoral (Treasury of Music). Rome [N.Y.]: Meredith, 1857. Compiled by Hugh J. Hughes. >Contains #1, 3, 6, 7, 9, 17, 25

Emynau y Cyssegr (Hymns of the sanctuary). Dinbych: 1888. Text only.

Hosanna, casgliad o donau ac emynau (Hosanna^ collection of tunes and hymns). Utica: Roberts, 1864. Compiled by Edward Lewis.

*Hymnau a Thonau (Hymns and Tunes). Chicago : Meredith, [1897] . >Contains all but #8, 9, 17 238

*Hymns and Tunes in Welsh and English. Philadelphia: Sower, Potts & Co., 1884. Compiled by E. T. Griffith. >Contains all but #5, 7, 11, 22, 26

Llawlyfr Moliant (Book of Praise). London: Novello, 1890. Compiled by J. H. Roberts.

Llyfz Emynau ac Ail Lyfr (Book of Hymns and Supplement). Wrexham: 1868. Compiled by Jones and Stephens. Text only.

Llyfr Gweddi Cerddorol (Book of Musical Prayer). London: 1898. Compiled by W. L. Richards. Contains chants.

*Llyfr Hymnau a Thonau y Methodistiaid Calfinaidd (Book of Hymns and Tunes of the Calvinistic Methodists). Caernarfon: The M. C. Gymanfa, 1897. Edited by John Henry Roberts. >Contains all 26 hymns

Llyfr Hymnau y Methodistiaid Calfinaidd (Hymn book of the Calvinistic Methodists). Dinbych: 1876; Wrexham: 1869; New York: Hughes, 1872; Wrexham: 1894. Text only.

*Llyfr Tonau Cynulleidfaol (Tune book for the Congregation). Wrexham: Roberts, 1872 and 1876. >Contains all but #3 and 13

*Llyfr Tonau ac Emynau (Book of Tunes and Hymns). Wrexham: Stephens and Jones, [1868]. >Contains all 26 hymns

Odlau'r Efengyl (Gospel Odes). Swansea: B. Parry, 1894. Compiled by Moody and Sankey.

Pigion o Hymnau (Selection of Hymns). Utica: Merrell, 1808. Text only.

Salmydd Cymreig (Welsh Psalmist). Dinbych: Gee, 1857. Compiled by R. Edwards and E. Thomas. Text only.

Telyn yr Undeb (Harp of the Union). Racine : Jones and Samuel, 1873. APPENDIX F

CHARACTERISTICS OF THE TWENTY-SIX WELSH HYMNS PRINTED MOST FREQUENTLY

The chart below contains a summary of the twenty-six hymns printed most frequently in extant Welsh and

Welsh-American hymnals. Each tune has been assigned a number for reference in appendix E, which provides the printed locations of each tune. The "Year" column indicates the year the tune was composed or published for the first time, and "Text Meter" refers to the number of syllables per line of hymn text. In the "Tune Meter" column, "bpm" stands for beats per measure, while "pu" indicates that the tune begins with a pick-up note. The final column provides abbreviated information on variants

(in rhythm, melody, and number of parts) as found in the eleven hymnals searched. The purpose of the chart is to provide at a glance the characteristics of the hymns most frequently published by the Welsh.

239 240

(TEXT TUNE VARIANTS (not TUNE ORIGIN YEAR 1METER KEY RANGE METER LENGTH FORM harmonization) 1 #1 BANGOR Eng 1734 8686 dm 10th 4bpm 8 bars 4 phrases 18 bars in Drjr pu Str

12 BOSTON Am 1824 8888 FM 5th 4bpm 16 ABAC

13 CAERSALEN Welsh calBSO 874 GM 8th 4bpm 14 AAB tune var in COtD. 1er Str 14 CYSUR W.air 5565 6th 3bpm 16 8 phrases Cam Seioi has " pu var & 3 oart #5 DORCAS Welsh calBOO 2.8 am 1 8th 4bpm 2 0 7 ph ra ses several tune como. var #6 DYFRDNY Welsh 87 AM 8th 4 bpm 8 4 ph ra ses L U f t 2 beat como. DU Irr Str var #7 DYNUNIAD Welsh 1835 87 am 5th 4bpm 8 4 ph ra ses como. DU #8 EDINBURGH W.air 87 E*M 8th 4b pm 16 AABA

#9 EIFIONYDD Welsh cal830 87 am Bth 4bpm 16 AABA' como. #10 ERFYNIAD Welsh cal825 10.10 9» 8th 4bpm 16 4 phrases como. #11 FRENCH Fr 1615 86 FM 9th 4bpm 8 ABCB 2 beat in DU Sloé h r 241

TUNE ORIGINYEAR METER KEYIRANGE METER LENGTH FORM VARIANTS

•1 2 H E N 6ANFED Fr cal550 8888 AM 8th 4bpm 8 4 phrases •Old 100* pu # 1 3 HURSLEY Aus 1774 8888 FM 7th 3bpm 16 4 phrases

«14 JOANNA W.air 1839 11.11 AM 9th 3bpm 12 AABA' pu 115 LLANFAIR Welsh 1837 74 GM 6th 4bpm 16 AABA COID. • 1 6 LLANTRI- w.air 88 AM 8th 4bpm 8 4 phrases Cam Seioi is SANT 3 oart •17 LLYDAW Fr 76 am 8th 4bpm 16 AABC LTCfi is 3 pu beat; 9rf Str rhv var •18 MALVERN Eng 1849 664 B*M 9th 4bpm 13 7 phrases M T K has rhv var •19 HEIRIONYDD Welsh 1840 76 FM 8th 4bpm 12 8 phrases Cam Seioi is 2 comp. part & mel var •20 MISSIONARY Am 1823 76 EM 3th 4bpm 16 ABACvEAB DU •21 MORIAH W.air 87 GM 6th 3 b pm 32 AABA

•22 SALOME W.air 88 11th 3bpm 24 AABC Cam Cjrm mel DU var •23 ST. Welsh 1789 86 AM 8th 4bpm 8 4 phrases STEPHEN como. pu •24 VERONA It 874 GM 9th 4bpm 12 7 phrases

•25 UAREHAH Eng 1738 11.11 B*M 7th 3bpm 16 4 phrases Drf Str has pu mel var •26 WYDDGRU6 Welsh 1835 873 FM 8th 4bpm 12 7 phrases 2 beats in como. LTCfi 242

TUNE INCIPITS

BANGOR

BOSTON '"J' I j J ^ -~4 i

CAERSALEN

CYSUR

I DORCAS

DYFRDWY

DYNUNIAD * i

EDINBURGH J J J J I j ' J J ^ aW :

EIFIONYDD P - i - J s i s y

ERFYNIAD 1^11 - 243

FRENCH

HEN GA NF ED

HURSLEY

JOANNA

LLANFAIR

LLANTRISANT 1W 4 J J ijlJl IJlIM '

LLYDAW

MALVERN j-J J [ J.-J. J. ± J jj J

HEIRIONYDD

MISSIONARY ■![ j J J Ij j Ü Ü :

MORIAH 244

SALOME

I I ■ H i J ST. STEPHEN

VERONA

WAREHAM

WYDDRUS SELECTED BIBLIOGRAPHY

Books and Articles

Aley, Howard C. A Hezitage to Share. Youngstown: Bicentennial Commission, 1975.

Allen, W. R. "The Choral Tradition." In Music In Wales, ed. Peter Crossley-Holland, 30-37. London: Hinrischen Edition Limited, 1948.

Blackwell, Henry. A Bibliography of Welsh Americana, 2nd ed. Aberystwyth: National Library of Wales, 1977.

Blume, Friedrich. Protestant Church Music, A History. New York: W. W. Norton and Co., 1974.

Brower, Edith. "The Meaning of an Eisteddfod."Atlantic Monthly, January 1895, 45-61.

Burdett, Noreen Diamond. "The High School Music Contest Movement in the United States." D.M.A. diss., Boston University, 1985.

Companion to the Hymnal. Nashville: Abingdon, [1970].

Carwardine, Richard. "The Welsh Evangelical Community and 'Finney's Revival'." Journal of Ecclesiastical History 29, no. 40 (October 1978): 463-80.

Davies, Phillips G. The Welsh in Wisconsin. Madison: State Historical Society, 1982.

______. "Welsh Settlements in Kansas." The Kansas Historical Quarterly 43, no. 4 (Winter 1977): 448- 69.

Davis, Howell D. Oshkosh, Wisconsin, Welsh Settlement Centennial, 1647-1947. Amarillo, Texas: Russell Stationery Co., 1947.

245 246

Davison, Sister Mary Veronica. ‘'American Music Periodicals, 1853-1899." Ph.D. diss.. University of Minnesota, 1973.

A Dictionary of Hymnology, 2nd ed., 1925. S.v. "Welsh hymnody," by W. Glanffrwd Thomas and J. Lewis Davis.

Dictionary of Welsh Biography, 1959 ed. S.v. "Evans, David Emlyn," by David E. P. Williams; "Lloyd, John Ambrose," by Robert D. Griffith; "Roberts, John," by Robert D. Griffith; "Thomas, John," by Robert D. Griffith.

"Dr. D. J. J. Mason." The Cambrian 10, no. 11 (November 1890): 321-23.

Diehl, Katherine Smith. Hymns and Tunes, an Index. New York: Scarecrow, 1964.

Edwards, Owain T. Joseph Parry. Caerdydd, Wales: Gwasg Prifysgol Cymru, 1970.

"The Eisteddfod and the Gymanfa Ganu." The Allen County Reporter 39, no. 3 (1983): 29-30.

Greenslade, David. Welsh Fever. Cambridge, Wales: Brown and Sons, 1986.

Griffiths, Rhidian. "Wales most distinctive contribution: Origins of the Cymanfa Ganu." Yr Enfys 40 (October 1988): 13.

Hartford, Lincoln. "A Good Tune, A Dissertation on the Phenomenon of Welsh Hymn Singing." Th.D. diss., Chicago Theological Seminary, 1981.

Hartmann, Edward George. Amer leans from Wales. Boston: Christopher Publishing, 1967.

Harvard Encyclopedia of American Ethnic Groups, 1981 ed. S.v. "Welsh," by Rowland Berthoff.

Hitchcock, Frederick L. History of Scranton, Pennsylvania. New York: Lewis Historical Publishing, 1914.

Homer, Mitchell. "The Eisteddfod in Ohio." M.A. thesis. The Ohio State University, 1934.

The Hymnal 1949 Companion, 3rd ed. New York: Church Pension Fund, [1949 3. 247

Jones, D. E. "Music in Lackawanna County." In History of Lackawanna County, Pennsylvania. Topeka: Historical Publishing, 1928.

Jones, Margaret. Eisteddfod— A Welsh Phenomenon. Talybont: Y Lolfa, 1986.

"The Kansas Eisteddfod." The Overland Monthly 13, no. 76 (April 1889).

Lake, Carlton Jones. "A Survey of the Music and Music Festivals of the Welsh." D.Mus. diss., Philadelphia Conservatory of Music, [ca. I960].

Madga, Matthew S. "The Welsh in Pennsylvania." In The Peoples of Pennsylvania, no. 1. 1986.

Marshall, George S. History of Music in Columbus, Ohio. Columbus: Franklin County Historical Society, 1956.

Miles, Dillwyn. The Royal Eisteddfod of Wales. Swansea : Davies Publishing, 1977.

Miller, Janice J. "1913 Pittsburgh International Eisteddfod." Occasional Paper No. 2 for the Pennsylvania Ethnic Heritage Studies Center, University of Pittsburgh, 1983.

McCutchan, Robert. Hymn Tune Names. New York: Abingdon, 1957.

The New Grove Dictionary of American Music. S.v. "Beach, Frank A.," by George Heller; "Choral Music," by James G. Smith; "Church of Jesus Christ of Latter-day Saints," by Roger Miller; "Hymnody," by Paul C. Echols.

The New Grove Dictionary of Music and Musicians, 1980 ed. S.v. "Jenkins, David," by Owain Edwards; "Parry, Joseph," by Peter Crossley-Holland and Nicholas Temperley; "Pinsuti, Ciro," by Elizabeth Forbes; "Protheroe, Daniel," by Owain Edwards; "Tonic Sol- fa," by Bernarr Rainbow; "Wales," by Peter Crossley- Holland .

Philips, Mary K. "A Study of the Sources of Welsh Music in America." M.A. thesis, Claremont Graduate School, 1948. 248

Protheroe, Daniel. "The Influence of the Welsh and the German in American Choral Music." In Studies in Musical Education and Aesthetics, 3rd series. Papers and Proceedings of the M.T.N.A., 240-46. The Association, 1909.

Roberts, W. Arvon. "Chicago International Eisteddfod of 1893," parts 1-5. Yr Eniys 101, 104, 107, 7, and 10 (October-November 1973, July-August 1974, May-June 1975, December 1979, December 1980).

The Saga of the Welsh Congregational Church, Lawrence Street, Cincinnati, Ohio, 1840-1952. Cincinnati: n.p., 1952.

"St. David's Celebrations." The Cambrian 8 (April 1888): 64-66.

Schultz, Patricia Bowers. "A Comparison of the Traditional Welsh Gymanfa Ganu with Contemporary Local Practices." D.M.A. diss.. University of Missouri-Kansas City, 1984.

Swickheimer, Mary Rodman. History of Radnor Township, Delaware County, Ohio. Published by the author, 1972.

Temper ley, Nicholas. The Music of the English Parish Church, Volume 1. Cambridge: Cambridge University Press, 1979.

"Vocal Music." The Allen County Reporter 35, no. 4 (1979): 98-106.

Williams, D. E. Parry. "Music and Religion." in Music in Wales, ed. Peter Crossley-Holland, 51-59. London: Hinrischen Edition Limited, 1948.

Williams, Daniel Jenkins. One Hundred Years of Welsh Calvinistic Methodism in America. Philadelphia: Westminster Press, 1937.

______. The Welsh Community of Waukesha County. Columbus, Ohio: Hann and Adair, 1926.

Williams, Comer. "An Outline of the History of Music in Emporia, Kansas 1858-1938." M.S. thesis, Kansas State Teachers College of Emporia, 1939.

Williams, Stephen Riggs. The Saga of the Paddy’s Run. Athens, Ohio: Miami University Press, 1945. 249

Williams, W. S. Gwynn. Welsh National Music and Dance, 4th ed. Llagollen: Gwynn Publishing, 1971.

"Traditional Music." In Music in Wales, ed. Peter Crossley-Holland, 23-28. London: Hinrischen Edition Limited, 1948.

Young, Percy. A History of British Music. New York: W. W. Norton and Co., 1967.

Newspapers

Allen County Democrat

Cambrian Freeman (Ebensburg)

Carbondale Transcript

Cleveland Leader

Ebensburg Democrat

Emporia Daily Republican

Emporia News

The Gazette (Emporia)

Jackson Standard

Lebo Enterprise

Lima Daily Democrat

Milwaukee Sentinel

Milwaukee Journal

New York Times

Osage City Free Press

Pittston Gazette

The Racine Journal

The Scranton Republican 250

Utica Morning Herald

Youngstown Vindicator, Youngstown Evening Vindicator

Manuscript and Miscellaneous Sources

"Naturalizations of Aliens in Allen Co., Ohio" Chart. Elizabeth M. MacDonnell Memorial Library, Allen County Historical Society, Lima, Ohio.

Scrapbook of the Lima Choral Society and Music in Lima, 1875-1896. Elizabeth M. MacDonnell Memorial Library, Allen County Historical Society, Lima, Ohio.

Cerls Gruffudd, Aberystwyth, Wales, to Linda Pohly, Westerville, Ohio, LS, 14 February 1989.

Lowens, Margery Morgan. "Welsh Musical Traditions of Northeastern Pennsylvania" TMs. Lowens' possession, Baltimore, Maryland.

"One Hundredth Anniversary 'Cynonfardd' Eisteddfod" Printed program. 22 April 1989, Dr. Edwards Memorial Congregation Church, Edwardsville, Pennsylvania.

Savage, Lloyd. "Welsh Hymn Tunes Well-Represented in New United Methodist Hymnal" TMs. Savage's possession, Chillicothe, Ohio.

Carter, Kate B., comp. "The Welsh in Utah" Pamphlet published by the Daughters of Utah Pioneers. Balch Institute, Philadelphia, Pennsylvania.

Early Gomer Community Scrapbook. Gomer United Church of Christ Library, Gomer, Ohio.

Romaine Aten Jones Scrapbook. Microfiche, vol. 3, fiche 9. Public Library, Jackson, Ohio.

"The Mozart of the Mines" TMs. Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania.

"The Welsh in Luzerne County, Pennsylvania" TMs. Lackawanna Historical Society, Scranton, Pennsylvania. 251

1867-1901 Scrapbooks. Jones Musical Collection, Lackawanna Historical Society, Scranton, Pennsylvania.

"International Eisteddfod of the World's Fair Souvenir Program" Program. Americana Collection, The National Library of Wales, Aberystwyth, Wales.

"The Welsh National Eisteddfod, Chicago, January 1 and 2, 1890" Program. Americana Collection, The National Library of Wales, Aberystwyth, Wales.

Flynn, Kevin F. "History of the St. David's Society of Wyoming Valley, Inc." TMs. Clippings file, Osterhout Free Library, Wilkes-Barre, Pennsylvania.

"One Hundredth Anniversary Celebration" Printed Program and History. Clipping file, Osterhout Free Library, Wilkes-Barre, Pennsylvania.

Phillips, Edward. "History of Wilkes-Barre, Luzerne County, Pennsylvania," vol. 2., part 2 TMs. Wyoming Valley Historical Society, Wilkes-Barre, Pennsylvania.

Price, Mary. "The Gymanfa Speaks" TMs read to the Radnor [Ohio] Historical Society, November 1839. Held by Mrs. Ann [Charles] Humphries, Delaware, Ohio.

"Youngstown Pioneer Welsh Fostered Christmas Eisteddfod" Photocopy from Youngstown Vindicator 17 May 1925. Welsh file, Youngstown Public Library, Youngstown, Ohio.