The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1922-05-01
The Golden Age Of National Songs
BY FREDERIC J. HAskIN

WASHINGTON, DC, May L.
Abundant evidence that a practically
lost art had its golden age in America
is available in the collection of colon
ial music exhibited at the Library of
Congress.
The declining art is the writing of
patriotic and national songs. We have
song writers to extol in light vein the
flapper, Broadway, prohibition, and
other modern topics. But the serious,
poet laureate type that scents from
afar an event of historic Importance
and produces an ode in time for the
occasion is lacking. So also Is the
composer to set the lyric to appropri-
ate music.
Occasionally, as at the burial of the
unknown soldier. poetic talent flames
up in blaze Of sonnets, odes, and
blank verse. But most historic events
proceed unaccompanied by poetic and
musical compositions especially writ
ten for them.
1t was otherwise in the early days
OF the republic. Every second piece
of music in the Library of Congress
exhibit preserved from colonial Amer
lea is patriotic, political or national
in character. There must have been
a large set of unofficial poets laureate
busily scribling in the attics of Bos-
ton, New York and Philadelphia, for
no event of Importance from the in
auguration of Jefferson to the death
OF Alexander Hamilton went unsung.
The lyrics produced were set to
music by equally Industrious COM
posers and these topical songs were
sung at the occasion for which they
were written, or sung on the stage,
or, sometimes, they were used only as
popular songs. They took the Mace,
In way, of the current events reels
at the modern moving picture show.
One of the most interesting of the
historic pieces exhibited by the Music
division Of the Library of Congress is
a copy of Hail, Columbia" The
music of this famous song first ap-
peared under the title, "The Presi-
dents March," and the Music division
displays copy which was printed in
The Gentleman's Amusement" in
1894.
Hopkinson Writes Classic
The stirring march became Hail,
Columbia" when Joseph Hopkinson
wrote the words four years later.
A note accompanying the first edition
Ot the song says that the words WEIR
written for the use of Hopkinson'sl
friend, Gilbert Fox, an actor, who
to sing a patriotic song to the
well known air.
Before the vogue of "The Presi-
1ent's March," Philadelphia, New
York, and Boston nodded their heads
and tapped their feet in time to the
low forgotten Federal March" This
composition, according to the cover |
II an old copy, was performed ''in the
grand procession in Philadelphia. the
ourth of July, 1888" 1t was written
or this Independence Day anniver-
'ary because great parade was
being held in honor of the ratification
II the Federal Constitution by ten of |
he states.
The composer of this march. Alex !
lnder Reinagle, was honored by hav- |
ng George Washington attend one of |
his benefit concerts. Washington tells
his diary of attending the concert. |
Ind 1t thought that this prominent |
of Philadelphia was engaged |
~ Washington to teach Nellie Gusts /
o play the harpsichord One of the |
pieces that Nellie Custis played and
ang for the General in the drawing |
Dom at Mt. Vernon is in the Music |
livision exhibit
George Washington is mentioned |
frequently in the exhibit Since hei
vas the most prominent man of the
ime, Washington's opinions on music |
we're quoted and remembered. The
omic opera, THE Poor Soldier" a /
opy of which is in the exhibit, is in
eresting today chiefly because it was
a number of times "at the
Presidents desire when he visited I
he theater." The deduction drawn Is /
hat 1.-THE Poor Soldier must have
cen a particular favolite of Wash
ngton.
One exhibit, a book of handwritten
COMPOSITIONS, is open to a page en-
tiled diary fashion, Fancy Menuit
lance before Gen. Washington. 1892"
he composer of this dance tune was
'ierre Landrin Duport, who is said to
ave been the accredited dancing mas
er OF society in Boston, New York.