The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1922-05-01
TOPEKA STATE JOURNAL
Information Bureau
FREDERIC J. HAsKN. Director,
washington. Do.
THE GOLDEN AGE OF NATIONAL
SONGS
washington. d.

dant evidepce that a practically lost
art had it's golden age in America is
available in the collection of colonial
music exhibited at the library of con-
gress.
The declining art is the writing of
patriotic and national songs. We have
song writer's 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
composer to set the lyric to appro-
PIRATE music.
! Occasionally. as at the burial of the
unknown soldier, poetic talent flames
up in a blaze of sonnets, odes, and
| blank verse. But most historic events
proceed unaccompanied by poetic and
musical compositions especially writ
ten for them
I was otherwise in the early days
OF the republic Every second piece of
| music in the library of congress ex-
hibit preserved from colonial America
| is patriotic, political, or national in
character. There must have been a
large set of unofficial poets laureate
busily scribbling in the attics of Bos-
/ ton, New York and Philadelphia, for
no event of Importance from the in
lauguration of jefferson to the death
\ of Alexander Hamilton went unsung.
The lyrics produced were set to music
4 by equally industrious composers 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 parlor
songs. They took the place, in way,
of the current events reels at the mod
ern 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-
dent March, and the music division
displays a 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
of the song says that the words were
written for the use of Hopkinson's
friend, Gilbert Fox, an actor who
wished to sing a patriotic song to the
well known air.
Before the vogue of 1.-The Presi-
dents March, Philadelphia, New
York and Boston nodded their heads
and tapped their feet in time to the
now forgotten Federal March" This
composition according to the cover of
grand procession in Philadelphia, the
fourth of July, 17SS." 1t was written
for this Independence day anniversary
because a great parade was being held
in honor of the ratification of the fed
eral constitution by ten of the states.
The composer of this march, Alex
ander Reinagle. was honored by haV-
ing George Washington attend one of
his benefit concerts Washington tells
in his diary of attending the concert,
t. oil, this innnt
musician of Philadelphia was engaged
by Washington to teach Nellie Gusts
to play the harpsichord. One of the
pieces that Nellie Gusts played ana
sang for the general in the drawing
room at Mt. Vernon is in the music
division exhibit.
George Washington is mentioned
frequently in the exhibit. Since he
was the most prominent man of the
time, Washington'S opinions on music
were quoted and remembered The
comic opera, 1.-The Poor Soldier" a
copy of which is in the exhibit, is in
teresting today chiefly because it was
performed a number of times 'at the
presidents desire when he visited the
theater." The deduction drawn IS that
THE Poor Soldier" must have been a
particular favorite of Washington.
One exhibit, book of handwritten
compositions, is open to a page en-
titled, diary fashion, Fancy Menuit
Dance before General Washington,
1922 The composer of this dance
tune was Pierre Landrin Duport, who
is said to have been the accredited
dancing master of society in Boston,
New York, Philadelphia, Richmond,
and Georgetown.
Martha Washington Figures.
There is evidence that Mrs. Wash
ington shared her husbands fame as
a. patron of music. Another page of
Duport's music book bears the head
ing Fancy Menuit with Figure Dance
by two young ladies in the presence
of Mrs. Washington in 1892, PhiladeI-
phia.'
Mrs Washington, like her husband,
had songs indited to her. One pa
thetic, yet amusing, specimen of the
Revolutionary period is entitled Lady
Washington" 1t begins with fam
boyant rhetoric. Saw you my hero d?
Saw you my hero George?" According
to the song, Mrs Washington goes on
to say that she has been out look
ing for her hero. She has inquired
of every swain" only to be told that
the missing general was in the van
of the battle. The song ends with a |
dramatic line in which Lady Wash |
ington implores the SWANS to return /
The conception of this emotional |
song was certainly lofty enough, and /
sincere. But it is a little difficult for !
US to picture the dignified Mrs. Wash /
ington of Mt. Vernon going about the /
countryside to inquire of the SWANS
if they have seen George. Whether /
this simply ditty was ever performed /
before Mrs. Washington or what che I
may have thought of it is, unfortu-
nateiy, not recorded.
One of the oldest looking manu- /
scripts in the exhibit is "A collection I
of the best. Psalm tunes engraved by /
Paul Revere and sold by him and (
Josiah Flag, Boston, 1854"
The preface of the little old volume /
closes with the quaint remark: 1T
is hoped, it will not diminish the I
Value of this Book in the Estimation
of any, but may in some Degree rec
ornmend it even. to those who have /
no particular Relish for the Musick, |
that however we are obliged TO the 1