Announcer Notes for July 3, 2012 Van Peursem Ampitheater in the Ravine, EKU
Americans We (1928), Henry Fillmore (1881–1956)
Henry Fillmore was a member of a music publishing family in Cincinnati, but he was an independent sort, and he regularly ran afoul of his parents’ approval. Either because or in spite of his independence Fillmore enjoyed a long career of composing and publishing. Biographer Paul Bierley noted “Fillmore’s zest for life is evident across all of his marches.” Our next selection, Fillmore’s Americans We, was premiered as part of his professional band’s concert series at the Cincinnati Zoo. Americans We March!
Amazing Grace (1779), John Newton (1725–1807)
arr. (2001) by William Himes
John Newton was a decidedly unreligious British sailor who, after experiencing a life-threatening storm, reconsidered his theology, left the sea, married, and joined the clergy. He began to write hymns for his prayer meetings, one of which was… Amazing Grace.
The Liberty Bell (1893), John Philip Sousa (1854–1932)
Often known as “The March King,” John Philip Sousa is without question one of the pinnacle figures in the American band movement. He most notably served as the director of the United States Marine Band and then his own professional touring band. His compositions are treasured by modern musicians and audiences. Our next selection, one that is regularly played at presidential inaugurations, is Sousa’s The Liberty Bell March, dedicated to one of the symbols of American freedom, and a true staple of American patriotic repertoire.
An American Tribute, various composers
arr. (1982) John Edmondson
A medley of Americana, John Edmondson’s American Tribute consists of “The Girl I Left Behind Me” and “When Johnny Comes Marching Home” (both of which are Irish tunes that were popular in America during the Civil War), the nostalgic “Shenandoah,” the mid-19th century march “American Patrol,” and “America,” a tune that came to this country from England before the Revolutionary War. This arrangement demonstrates musically how our heritage is an amalgam of cultures from across the world.
National Emblem (1906), E. E. Bagley (1857–1922)
Edwin Eugene Bagley was a professional musician and entertainer in the late ninetieth and early twentieth centuries. National Emblem is the best known of the several marches he composed. It is so-called because Bagley included an excerpt from the Star Spangled Banner, played early in the march by the low brass and woodwinds. Although the second strain of the march is often sung with the words, “and the monkey wrapped his tail around the flagpole,” this was not intended by the composer, so you are forbidden to imagine those words when the tune comes around. E. E. Bagley’s National Emblem!
Battle Hymn of the Republic, collected (1856) by Wlliam Steffe (1830–1890)
arr. Peter J. Willhousky, trans. James Neilson
In 1861, with the American Civil War just beginning, writer Julia Ward Howe wrote the now-famous words to a campfire tune previously known as “Cannan’s Happy Shore,” and then “John Brown’s Body.” As we close our musical presentation this evening, please be put in mind of the rich history of our country and the equally rich promise for its future.
Henry Fillmore was a member of a music publishing family in Cincinnati, but he was an independent sort, and he regularly ran afoul of his parents’ approval. Either because or in spite of his independence Fillmore enjoyed a long career of composing and publishing. Biographer Paul Bierley noted “Fillmore’s zest for life is evident across all of his marches.” Our next selection, Fillmore’s Americans We, was premiered as part of his professional band’s concert series at the Cincinnati Zoo. Americans We March!
Amazing Grace (1779), John Newton (1725–1807)
arr. (2001) by William Himes
John Newton was a decidedly unreligious British sailor who, after experiencing a life-threatening storm, reconsidered his theology, left the sea, married, and joined the clergy. He began to write hymns for his prayer meetings, one of which was… Amazing Grace.
The Liberty Bell (1893), John Philip Sousa (1854–1932)
Often known as “The March King,” John Philip Sousa is without question one of the pinnacle figures in the American band movement. He most notably served as the director of the United States Marine Band and then his own professional touring band. His compositions are treasured by modern musicians and audiences. Our next selection, one that is regularly played at presidential inaugurations, is Sousa’s The Liberty Bell March, dedicated to one of the symbols of American freedom, and a true staple of American patriotic repertoire.
An American Tribute, various composers
arr. (1982) John Edmondson
A medley of Americana, John Edmondson’s American Tribute consists of “The Girl I Left Behind Me” and “When Johnny Comes Marching Home” (both of which are Irish tunes that were popular in America during the Civil War), the nostalgic “Shenandoah,” the mid-19th century march “American Patrol,” and “America,” a tune that came to this country from England before the Revolutionary War. This arrangement demonstrates musically how our heritage is an amalgam of cultures from across the world.
National Emblem (1906), E. E. Bagley (1857–1922)
Edwin Eugene Bagley was a professional musician and entertainer in the late ninetieth and early twentieth centuries. National Emblem is the best known of the several marches he composed. It is so-called because Bagley included an excerpt from the Star Spangled Banner, played early in the march by the low brass and woodwinds. Although the second strain of the march is often sung with the words, “and the monkey wrapped his tail around the flagpole,” this was not intended by the composer, so you are forbidden to imagine those words when the tune comes around. E. E. Bagley’s National Emblem!
Battle Hymn of the Republic, collected (1856) by Wlliam Steffe (1830–1890)
arr. Peter J. Willhousky, trans. James Neilson
In 1861, with the American Civil War just beginning, writer Julia Ward Howe wrote the now-famous words to a campfire tune previously known as “Cannan’s Happy Shore,” and then “John Brown’s Body.” As we close our musical presentation this evening, please be put in mind of the rich history of our country and the equally rich promise for its future.
