VOLUME 1: THE EIGHTEENTH CENTURY
ANONYMOUS MARCHES
General Burgoyne's March - Brandywine Quick-Step
Washington's March
FRANCIES HOPKINSON
My Days Have Been So Wondrous Free
Beneath a Weeping Willow's Shade
The Toast - Come Fair Rosina, Come Away
JOHN CHRISTOPHER MOLLER
Sinfonia in E-Flat Major
WILLIAM BILLINGS
Chester - Conquest - Jargon - When Jesus Wept
JAMES LYON
19th Psalm
ALEXANDER REINAGLE
Minuet and Gavotte in A Major
WILLIAM SELBY
Voluntary VIII in A Major
PIERRE LANDRIN DUPORT
Minuet in B-Flat Major - Minuet in F Major
JAMES BREMNER
Trumpet Air in D Major
VICTOR PELISSIER
Waltz in A Major
JOHN PALMA
Lesson in B Major
JAMES HEWITT
Nahaht Waltz in D Major
PHILIP PHILE
The President's March
During the 18th century, little music was written in America specifically for organ. It is clear, nevertheless, that most keyboard music was intended to be played on any keyboard instrument Even 3 and 4 part hymns and anthems, although written for voice, were often accompanied by the organ, duplicating the voice parts.
Francis Hopkinson (1737-1791), James Lyon (1735-1794) and William Billings (1746-1800) were America's first native born composers Each was self-trained in music which was, at least initially, only an avocation. Hopkinson, a friend of George
Washington and Thomas Jefferson, and a signer of the Declaration of Independence, may have composed the first piece of music in the American colonies (My Days Have Been So Wondrous Free). His Seven Songs for Harpsichord was dedicated to Washington and a copy sent to Jefferson Two pieces from this work, "Beneath a Weeping Willow’s Shade” and "Come Fair Rosina, Come Away, ” are included in this recording.
Lyon and Billings, and nearly all other native-born American composers of the 18th century, wrote, primarily, hymns, fuguing tunes, and anthems for the church service. Whereas the music of Hopkinson is primarily of historical interest, that of Lyon, and especially Billings, is of greater importance because of the influence it has had on later American composers. Since neither Lyon nor Billings had any formal musical training, they were
unfettered by the restrictions and rules of formal composition developed by European composers.
While their music is in some ways very awkward, it has, nevertheless, a freshness and vigor and
individuality that is both surprising and striking
Good examples are Lyon's setting of the 19th psalm, and the hymns of Billings’ most popular hymns, Chester and Conquest were among Billings' most popular hymns, and during the Revolution Chester achieved the status of a national patriotic song. The remarkable dissonances of Billings’ Jargon, employed to portray the discord and thunder proclaimed in the text, would probably be more offensive to the average church congregation of today than to that of Billings' day who not only accepted his music, but accepted it enthusiastically. The contrast between Jargon and When Jesus Wept provides insight into the depth of feeling and the sensitivity and great innate musical ability of this most significant of the early American composers. Such individuality and innovation in musical composition is not met with again in America until the advent of Charles Ives in the latter part of the 19th century. A major part of the art music composed in America during the 18th century was the work of immigrants from Europe. Among the more important of these composers were James Bremner (d. 1780), James Hewitt (1770-1827), Alexander Reinagle (1756-1809), and William Selby (1738-1798) of British origin, John Christopher Moller (d 1803) from Germany, and
Pierre Landrin Duport and Victor Pellissier from
France. Some of the best compositions of these composers have been selected for this recording. Although derivative and largely unimaginative, this spritely music, performed both in concert and at social gatherings, is exceptionally pleasant to the ear
Of these composers, Alexander Reinagle and James Hewitt were among the most influential, Reinagle is best known today for his four piano sonatas, and Hewitt for his episodic sonata for piano, The Battle of Trenton, The short works included herein, Reinagle's Minuet and Gavotte and Hewitt's Nahant Waltz, bear testimony to the artistic skill and craftsmanship of these early American composers.
Like Hewitt, William Selby was an organist. Nevertheless, his Voluntary performed in this record, like many other 18th century keyboard compositions, was written to be played on organ, harpsichord or pianoforte.
With the exception of The President's March, the authorship of none of the marches included is known with certainty, but Washington’s March, performed at the inauguration of President Washington, is attributed to Francis Hopkinson by O. G. Sonneck.
and Billings, and the rousing military and patriotic marches, reflects the ebullient spirit in the
colonies, and in the young nation following the Revolution.
THE PERFORMANCES -- Every effort has been made to retain the style and character of the period. Registrations reflect, as neatly as possible, stops available on the 18th century organs used in America. In the Billings hymns, Chester, Conquest and Jargon, the melody is retained in the tenor following the practice of the period, and When Jesus Wept is performed as a simple round as it was designed to be sung
FUTURE RECORDINGS IN THIS SERIES – This is the first of five recordings by Janice Beck that, together, will survey American music for organ from the 18th century to the present.
The gay, light-hearted music of Hopkinson and the immigrant composers, the hearty songs of Lyon
THE INSTRUMENT -- The 57 rank Noehren organ in the First Baptist Church of Ann Arbor, Michigan is used in this recording. Specifications are as follows: Great: Quintadena 16’ , Principal 8' , Rohrfloete 8’ , Flute Harmonique 8’ , Octave 4’ , Spitzfloete 4’ , Octave 2’ , Waldfloete 2’ , Mixture III-V, Cymbel III, Cornet IV, Bombarde 16’ , Trompette 8, Clairon 4. Positiv: Gedeckt 8' , Principal 4’ , Rohrfloete 4’ , Octave 2' , Scharf III-V, Sesquialtera III, Cromhorne 8' , Trompette 8’ , Clairon 4’ ,
Choir: Bourdon 8' , Gemshorn 8’ , Unda Maris 8' , Flute 4’ , Nazard 2-2/3' , Piccolo 2' , Tierce 1-3/5' , Tremulant, Flageolet 1' , Larigot 1-1/3’ .
Swell: Bourdon 8' , Gamba 8' , Voix Celeste 8' , Flute Octavían 4, Octavín 2' , Plein Jeu III-V, Trompette 8' , Hautbois 8' , Clairon 4, Tremulant.
Pedal: Subbass 16, Principal 8' , Gedecktbass 8, Octave 4, Octave 2' , Mixture V, Posaune 16’ , Bombarde 16’ , Trompette 8' , Clairon 4.
ACKNOWLEDGMENTS- Professor Charles Beck of the University of Michigan has contributed significantly to this project through his assistance in the selection and acquisition of the music performed and in the preparation of the liner notes. Others whose assistance is acknowledged with appreciation are Mr William Lichtenwanger, Music Division, Library of Congress and Associate
Dean A. P. Britton of the University of Michigan School of Music.
PROFESSOR CHARLES B. BECK
Janice Beck studied with Jean Langlais in Paris as
a Fulbright scholar following five years of work
with Catherine Crozier. She performs frequently
as a recitalist in the United State, and has gained recognition in Europe through performances at L'
Ecole des Jeunes Aveugles in Paris, over
Radiodifusion Francaise, at the Reading Festival in England, and others.
A Musical Heritage Society recording produced under the direction of Professor CHARLES B.
BECK
