American Songbook 11•10•2024
Program
Songbooks have a rich legacy in American music, preserving pieces from across the oral tradition. Songs in the American Songbook reflect the social, economic, and cultural changes that shaped the nation, including contributions from a diverse range of composers, lyricists, and performers. Our program this afternoon will include a collection of tunes, hymns, spirituals, sea shanties, and anthems, selected from some of the most prominent composers in the United States.
Flag of Stars: Salute to America, by Gordon Jacob (1895–1984)
Gordon Jacob composed Flag of Stars in 1954 — part of a commissioning project sponsored by the Pi Kappa Omicron Band Fraternity at Louisville University. In a letter to the commission Jacob wrote, “I was extremely flattered by being commissioned to write this work and I took it as an opportunity to make a humble contribution to the friendship between our two nations upon which the future welfare of the world depends in great measure.”
Suggestions for Listening | From Gordon Jacob: “The overture was written during the end of 1953 and the beginning of 1954 and is intended as a gesture from an inhabitant of the old world to those of the new. The introductory fanfare and the slow section which follows it recalls the sacrifices made by your county during both world wars and more recently in Korea in the struggle with dark forces of destruction. The allegro is prompted by thoughts of the energy, vitality and cheerfulness of the American people — young, enthusiastic, and full of faith in their destiny. The second subject in 3/4 time might perhaps suggest a sort of national song and right at the end there is a brief quotation from the Star-Spangled Banner.”
Southern Harmony, by Donald Grantham (b. 1947)
Southern Harmony, composed by Donald Grantham in 1980, is based on music in William Walker’s The Southern Harmony and Musical Companion, a famous 19th-century collection of shape-note hymns widely used in the southern United States. Grantham’s modern orchestration gives these traditional hymns a fresh voice while preserving their historical and cultural significance.
Suggestions for Listening | From Donald Grantham: “The music of Southern Harmony has a somewhat exotic sound to modern audiences. The tunes often use modal or pentatonic rather than major or minor scales. The harmony is even more out of the ordinary, employing chord positions, voice leading and progressions that are far removed from the European music that dominated concert halls at the time. These harmonizations were dismissed as crude and primitive when they first appeared. Now they are regarded as inventive, unique, and powerfully representative of the American character.”
1. The Midnight Cry | The Midnight Cry is based on a hymn associated with the second coming of Christ, a theme often found in early American spirituals and revivalist music. Listen for the emotional urgency and intensity of anticipation, with solemn, powerful harmonies and dramatic shifts in texture and dynamics. Grantham’s treatment gives the piece a haunting quality, evoking the imagery of judgment day and a call to salvation, while staying true to the hymn’s simple yet poignant melody.
2. Wonderous Love | One of the most beloved hymns from the Southern Harmony collection, Wonderous Love, has its origins in the folk traditions of the American South. The hymn has a plaintive, almost otherworldly melody. Listen for the deep, emotional resonance of the hymn’s central theme—God’s love and mercy. Grantham’s minimalist harmonic structure allows the melody to shine, making it a meditation on grace and redemption.
3. Exhilaration | Exhilaration is based on a lively and jubilant hymn, which reflects the joy and rapture often expressed in early American worship. Listen to how the clapping adds a rhythmic and energetic element to the piece, enhancing the overall texture and bringing a sense of unity and shared experience to the performance. It’s a celebration of the more communal and expressive side of early American hymn singing.
New England Triptych, by William Schuman (1910–1992)
New England Triptych by William Schuman is a three-movement orchestral suite inspired by the works of William Billings, a prominent American choral composer from the Revolutionary period. We will be presenting movements two and three. When Jesus Wept refers to the biblical story of Jesus weeping over the death of Lazarus (John 11:35). This music would have been part of the early American church experience, sung in small communities.
Schuman originally composed Chester as the third movement of his New England Triptych, where he interpreted Billings’s hymn and marching song of the same name. He later developed and extended the work to become an overture for band and it is often performed as the answer to When Jesus Wept. From Schuman: “Chester was so popular that it was sung throughout the colonies from Vermont to South Carolina. It became the song of the American Revolution, sung around the campfires of the Continental Army and played by fifers on the march. The music and words, both composed by Billings, expressed perfectly the burning desire for freedom which sustained the colonists through the difficult years of the Revolution.”
2. When Jesus Wept | Suggestions for Listening | Schuman first presents the tune as a duet and then juxtaposes fragments of the tune at varied pitch levels, contributing to a profoundly unsettled mood. Listen for the dynamic variations that Schuman employs to convey the emotional weight of the piece. Pay attention to how the melody weaves through the different sections of the band.
3. Chester | Suggestions for Listening | Schuman’s genius lies in his ability to take a simple, straightforward hymn and develop it into something much grander. As you listen, imagine the historical context—soldiers marching and people gathering in support of the Revolution. Notice how Schuman builds upon the original theme, starting with simple presentations by the woodwinds and then the brass, and gradually transforming it with added layers of instrumentation and rhythmic variations. The overture is structured to take you on an emotional journey, starting with quiet reflection and growing into bold declarations of victory.
– Intermission –
Fantasy on American Sailing Songs, by Clare Grundman (1913–1996)
Fantasy on American Sailing Songs is a perfect example of how American folk tunes can be elevated into concert repertoire. Sailing songs and sea shanties are an essential part of the country’s musical tradition. Grundman’s work celebrates this folk tradition by weaving together several songs, including Hornet and Peacock, Lowlands, What Shall We Do with a Drunken Sailor, and Rio Grande to create an engaging piece that showcases both the excitement and the hardships of life at sea.
Suggestions for Listening | Some sailing songs were sung to the rhythm of sailors’ work, helping them synchronize their movements during tasks like hoisting sails or hauling ropes. Grundman captures this rhythmic energy throughout the piece, especially in songs like Hornet and Peacock and What Shall We Do with a Drunken Sailor. Listen for the steady, rhythmic drive that would have kept sailors in unison. Lowlands is more reflective, often sung during quieter moments. Sailors might have used it to express longing for home or to cope with the hardships of sea life. Rio Grande was often used as a farewell song as ships left port. The grand, sweeping opening sets the stage for a voyage, creating an atmosphere of excitement and determination. The dynamic changes mirror the ebb and flow of emotions as sailors set sail and leave behind familiar shores.
Folk Suite for Band, by William Grant Still (1895–1978)
Folk Suite for Band, by William Grant Still, showcases the rich tapestry of American folk traditions through the lens of a pioneering African American composer, often referred to as the “Dean of Afro-American Composers.” Drawing from both traditional folk tunes and African American musical traditions, Still creates a work that is distinctly American, reflecting the melting pot of cultures and sounds that define the country’s musical identity.
Suggestions for Listening | Whether you’re listening for the simplicity of the folk melodies, the complexity of the blues and jazz influences, or the vivid orchestration, Folk Suite for Band is an engaging and rewarding journey through America’s musical heritage.
1. Get on Board, Little Children | The lyrics of this traditional African American spiritual speak
of a “gospel train” coming to take people to freedom and justice, symbolizing hope and
salvation. Listen for the rhythmic drive, call and response, and joyous character that bring a sense of movement and anticipation, reflecting the energy and movement of boarding a train.
2. Deep River | This well-known African American spiritual dates to the 19th century and symbolizes the crossing over into freedom and the Promised Land, drawing a parallel with the Israelites’ crossing of the Jordan River into Canaan. For enslaved African Americans, this imagery represented the hope for liberation and a better life. Listen for the soulful, flowing melodies and rich harmonies that evoke a sense of longing and peaceful reflection.
3. Medley of The Old Ark’s a-Moverin’ and Sinner, Please Don’t Let This Harvest Pass
The final movement is a medley of two traditional folk songs. The composer seamlessly combines The Old Ark’s a-Moverin’, with its lively and rhythmic character, and Sinner, Please Don’t Let This Harvest Pass, which adds a more solemn and introspective tone. Notice how Still transitions smoothly between these contrasting moods and interweaves the themes of both spirituals.
Andrew Richter, Guest Conductor
Come Sunday, by Duke Ellington (1899–1974) (arr. P. Murtha)
Composed as part of Black, Brown, and Beige, Ellington’s 1943 jazz suite, Come Sunday captures a deeply personal and universal expression of faith, hope, and resilience, embodying themes often found in traditional American gospel music. By blending jazz with the reverence of a hymn, Ellington created a piece that not only highlights the African-American experience but also contributes a uniquely American spiritual anthem to the broader musical landscape.
Suggestions for Listening | Even in its structured form, Come Sunday retains a sense of improvisational freedom, a hallmark of jazz. Listen for moments during the emotive alto saxophone solo that feel spontaneous or particularly expressive. Allow the harmonies and melodies to wash over you, experiencing the timeless quality that makes this piece an enduring part of American music heritage.
Tim Kraft, Alto Saxophone Soloist
America, the Beautiful, by Samuel A. Ward (1848–1903) (arr. Carmen Dragon)
America, the Beautiful, one of the nation’s most beloved and popular American patriotic songs, embodies the spirit of the American Songbook, capturing the essence of the nation’s landscape and ideals. Samuel Ward was inspired to write the tune in 1882 as a hymn of gratitude after spending a day with his family and friends at New York’s Coney Island. After Ward’s death, a publisher combined his tune with a poem written in 1893 by Katherine Lee Bates during a trip to the top of Pikes Peak in Colorado, where she was inspired by the breathtaking view and the beauty of the American landscape.
Suggestions for Listening | Carmen Dragon’s arrangement of America, the Beautiful elevates this familiar hymn into a majestic and expansive experience. Notice how the deep, resonant sound of the opening timpani roll sets the stage for what’s to come, creating a sense of anticipation. When it’s your turn to sing, and you sing “America, America,” notice how the horns build to a crescendo, and then experience the decrescendo on “from sea to shining sea.” Finally, enjoy the triumphant trumpet salute as the piece reaches its climactic end.
The Stars and Stripes Forever, by John Philip Sousa (1854–1932)
Composed by John Philip Sousa on Christmas Day 1896, The Stars and Stripes Forever is the official National March of the United States of America. It has been used with considerable effectiveness to generate patriotic feeling ever since its introduction in Philadelphia on May 14, 1897, when the staid Public Ledger reported: “It is stirring enough to rouse the American eagle from his crag, and set him to shriek exultantly while he hurls his arrows at the aurora borealis.”
Suggestions for Listening | Sousa explained that the three themes of the final trio were intended to represent the three regions of the United States. The broad melody portrays the North. The South is represented by the famous piccolo obligato, and the West by the bold countermelody of the trombones. The three come together in the climax, representing the Union itself. Let the brass fanfares and spirited rhythms inspire a sense of patriotism. Allow the music to evoke a sense of pride and joy in the American spirit and feel free to clap along!
Program notes by Sue Hinton
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