If you missed the program, you can replay it anytime during the next two weeks -- it's currently available at the WTJU website (http://wtju.net/vault).
Liberty Fanfare - John Williams
Cincinnati Pops Orchestra; Eric Kunzel conductor
John Williams gets played a lot on the 4th -- but it's usually his film scores. I decided to open with a work he specifically wrote for the holiday.
Bunker Hill, a Sapphick Ode - Andrew Laws
Heroism - Supply Belcher
Liberty Tree - Anon. 18th C.
The Sons of Liberty - Anon. 18th C.
Waverly Consort
This set of tunes all date from around 1780. They're excellent examples of patriotic songs that would have been sung by veterans of the Revolution.
Bold Island Suite - Howard Hanson
Cincinnati Pops Orchestra; Eric Kunzel, conductor
Howard Hanson was an outstanding American composer, and as a teacher and a conductor was a champion of American music. This evocative work is a good introduction to Hanson's style.
O come, come away - Anon. 19th C.
School hymn - Anon. 19th C.
Gospel Feast - Anon. 19th C.
Boston Camerata; Joel Cohen, director
These hymn tunes were created during the Second Great Awakening of the 1790's-1830's. The melodic shapes and harmonies of these hymns were distinctively American. Designed to be sung by amateurs with limited vocal range, they're nevertheless powerful and attractive works.
Freedom Fanfare - Tim Rumsey
Kiev Philharmonic; Robert Ian Winstin, conductor
Not all American composers are dead. Many aren't even middle-aged. This work was written just a few years ago, and is a great occasional piece.
When Johnny Comes Marching Home - Roy Harris
Louisville Symphony; Jorge Mester, conductor
In the 1960's, this work was regularly programmed for patriotic events. Many of Roy Harris' works have American themes, or are based on American subjects. It's always been a puzzle to me why he's not performed more frequently in this country.
Overture and Opening Credits to "How the West Was Won" - Alfred Newman
MGM Orchestra & Chorus; Alfred Newman, conductor
Many 4th of July programs include movie soundtracks -- and they're almost exclusively John Williams scores. "How the West Was Won" was a sprawling epic chronicling three generations of a family as they move west from Ohio through to California (and being a part of every major historical event between 1840-1890).
In addition to the rousing original music Alfred Newman wrote for the film, which has more of an American rather than Western character, he also researched the music of the period. The overture features a medley of folk songs and ballads spanning the mid-1800's -- perfect for a day which celebrates all things American.
Two Sketches Based on Indian Themes - Charles Tomlinson Griffes
Kohen Quartet
Charles Tomlinson Griffes achieved international success in the early 1900's with his tone poems. And while his music does have a cosmopolitan sound to it, he was also looking to American music for inspiration. This string quartet is an interesting experiment, and while today we might not consider the treatment of these themes very authentic, they certainly evoke the romanticized ideal of Native American life.
Battle of San Juan Hill - Albert C. Sweet
New Columbian Brass Band
In the late 1800's community bands were an important part of many cities and towns. They often played throughout the warmer months, and most definitely on important events like the 4th of July. This tone poem is somewhat literal, with its bugle calls and cannonfire. But if folks like gunshots with their music, why not give them something relating to American history -- instead of the 1812 Overture (which celebrates Russia's victory over Napoleon)?
Singing School - Anon. 19th C.
Thomas-Town - William Billings
Amazing Grace - Anon. 19th C.
Boston Camerata; Joel Cohen, director
Shape note singing is a distinctively American artform. Developed in the 1790's, this music was written with symbols non-musicians could easily understand. And the rudimentary counterpoint in these tunes -- called fuguing -- is absolutely unique to America. What better music for an absolutely unique American holiday?
Fanfare and Allegro - Clifton Williams
Eastman Wind Ensemble; Frederick Fennell, conductor
Concert marches are a staple for 4th of July programs. But most concerts seldom venture beyond Sousa. In the latter part of the 20th Century, Clifton Williams was the master of the concert march, many of which entered the band and orchestral repertoire.
American Hymn - Nancy Bloomer Deussen
Kiev Philharmonic; Robert Ian Winstin, conductor
Another short work written within the past few years. Deussen demonstrates that accessible, well-crafted and tuneful music is still being written in this country.
Dance in Three-Time - Quincy Porter
Albany Symphony Orchestra; Julius Hegyi, director
Although seldom played today, Quincy Porter is a quite important American composer. He had a successful career both in America and Europe, and even won the Pulitzer Prize for his second piano concerto. This short orchestral work at least gives the listener a taste of his compositional style.
Hymn, Chorale, and Fuguing Tune No. 8 - Henry Cowell
Northwest Chamber Orchestra; Alun Francis, director
Henry Cowell was an American composer with a distinctively American voice. I thought it appropriate after playing some original fuguing tunes to air one of Cowell's 1947 interpretations of this American genre.
Fanfare for the Signal Corps - Howard Hanson
Cincinnati Pops Orchestra; Erich Kunzel, conductor
During the Second World War, many composers were commissioned to write patriotic pieces. Aaron Copland's "Fanfare for the Common Man" might be the best know, but it's not the only example. This short fanfare is another -- and it happened to fit nicely in the two-minute window I had at the end of the show.
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