Adapted from the September 1915 edition
of The Etude Magazine
Of all the forms of art that intellect has conceived to beautify and bless
our lives, to help us to forget and forgive the trials and tribulations
of existence, from the earliest emergence of awareness to the last failing
perception, none is so intimately associated with our every experience,
as music. Music is well named the universal language, not only because it
is understood and felt in every land, by every race, but also because it
voices and influences the universal experiences of all humanity. None is
in such close touch with every phase of life's ebb and flow, of emotions,
dreams, hopes, and fears as music. It has been well said that we all love
to "emote". We enjoy thrilling to the vividly expressed emotions of others
in the strains of great music. It adds so much to our own emotional experience
and we are pleased to find the moods we have ourselves felt or imagined,
reflected in musical art. It puts us in touch with other minds and hearts.
It gives us comfort in feeling that, in joy or in pain, we are one with
all humankind. Music is the golden chain whose links bind all humanity in
a bond of common feeling and fellowship.
Gods may rise and fall, faiths may wax and wane, creeds be made, modified
and abandoned, but music remains, outliving them all. What matters the form
or name of the particular cult which music is called upon to serve? The
essence, when reduced to the last analysis, is virtually the same; the effect
practically identical in every case, from ancient Egypt to modern America.
Creeds may falsify the facts, dogmas may deny the fundamental truths they
assert, preachers may vilify and blaspheme the very God they claim to serve;
but music remains true to the ultimate realities.
In later life, when we have reached the introspective and retrospective
age, we are prone to live in memories, rather than in hopes and aspirations.
Associations from our youth add a sort of mystic spell to the charm of certain
strains of music. The half-forgotten fragment of a tune, heard or recalled
by accident, is filled with reminiscences sadly sweet. It will unlock storehouses
of memory forgotten for decades and we live again among the refreshed scenes
and persons of the long-buried past. This is the secret hold certain old,
familiar melodies have on all of us; not their intrinsic worth, but the
associations connected with them.
At last, when we come to the end of our days, music provides its last comforts.
Tolling bells and muffled minor measures of the funeral march accompany
us to our last resting place. As Tennyson said, "Music that gentler on
the spirit lies than tired eyelids upon tired eyes". Thus, music is
the first, last, best, most constant of our friends among the fine arts.
It meets us at the threshold of life with gentle, caressing voices. It cheers
and strengthens us to the loftiest endeavors. It quickens our purest, deepest
emotions. It echoes our every mood and experience and leaves, reluctantly,
at last only when its soft, solemn harmonies have muffled the clang of the
iron portals of the tomb. Or does it leave us even then? We can only note
that in all dreams and pictures of the hereafter, music is the only one
of the fine arts which has a place. We don't hear of poets writing or reciting
great verses, or of artists painting pictures. But, we do hear of the harp,
which is the emblem of instrumental music, and of choral harmonies among
the angels, typifying vocal music.
It has been said and often quoted, "Music is the only thing in Heaven
we have on earth, the only thing we take to Heaven". In this issue,
we've chosen songs that exemplify this journey.
To enjoy the full musical experience, we recommend that you get the Scorch
plug in from our friends at Sibelius software. The Scorch player allows
you to not only listen to the music but to view the sheet music as the music
plays and see the lyrics as well. Each month we also allow printing of some
of the sheet music featured so for those of you who play the piano (or other
instruments) you'll be able to play the music yourself. It's a complete
musical experience! Get the Sibelius
Scorch player now.
Long before a baby can understand spoken language, it perceives and
responds to the soothing influence of the lullaby, softly crooned
by mother or nurse. The child feels the heavy, protective love expressed
in these sweet tones. It is quieted by the gentle magic of the soft
refrain. This is its first introduction to any form of art - the cradle
song. The cradle song is probably the oldest and most widely known
and used of all musical forms. The character and moods are always
the same and the uniform keynote is maternal love.
This particular song is one of the most peaceful and beautiful lullabies that we've heard. With an especially good set of lyrics and a wonderful melody, it is a surprise that this piece has not found its way into the current repertoire.
Alexander MacFayden (1879 - 1936) pianist, composer, music teacher, b. Milwaukee. He received his musical education under Julius Klauser and William Borchert in Milwaukee, and also studied under Rudolph Ganz, Felix Borowski, and Arthur Friedheim in Chicago. He graduated from the Chicago Musical College (B.Mus., 1905), and the same year made his debut as piano soloist in the Auditorium Theater in Chicago. He taught in Milwaukee at the Wisconsin Conservatory of Music (1912-1921), and at the Wisconsin College of Music (1922-1935), as well as in conservatories in New York and Chicago. MacFayden appeared frequently as soloist with the Chicago Symphony and with many other well-known orchestras, and toured with the Leonora Jackson Concert Company and Orpheum Circuit. He was a member of numerous musical organizations, and was the composer of more than 100 piano works, men's choruses, violin compositions, organ pieces, and songs. Among his best known songs are "Inter Nos," "Love is the Wind," "Cradle Song," "Spring Singing," and "Daybreak." He died in Chicago. Who's Who in Amer., 19 (1936); Wis. Blue Book (1929); A. E. Wascher, Who's Who in Music and Art in Milwaukee (Milwaukee ); Milwaukee Journal, June 7, 1936; N.Y. Times, June 7, 1936.1
As the child grows, it finds the natural expression of exuberant spirit
in the strongly marked rhythms and lively swinging melodies of the
simpler forms of music. They whistle or sing at play or as they go
hopping and skipping off to school. Upon entering school for the first
time, children are filled with a sense of wonder and pride at having
finally achieved a "milestone". After a few years, that initial feeling
begins to wear off. We can all remember telling our parents at some
point, "I'll sure be glad when I'm grown up and don't have to go
to school any more". And, the universal reply went something like,
"Just you wait. There'll come a day when you'll wish you were back
in school, with no worries and no bills to pay". Here's a lively
tune that captures that feeling.
This video contains the "patter" chorus that describes
an incident to which all of us can relate from our own school days.
The gaiety and sensuous beauty of the dance, as expressed by the
music, appeal irresistibly to the emotions; especially the waltz,
which is the love dance, the idealized mating instinct, voiced in
alluring melody, like the songs of birds in springtime.
Featured in our October
2001 issue, not only was this the first piece of music to sell
a million copies, but it started the "Popular Song" industry.
Aging, regrets, bad choices made, this song has them all. A story
being told to the protagonist's young niece, he reminisces and explains
how, as a young man, he saw his true love kissing another man at the
ball. He refuses to listen to her attempts to explain, forsakes her,
and spends his life growing old, alone and bitter, only to learn after
her death that it was an innocent kiss from her brother.
Kassell Harriswas born in 1867 in Poughkipsie, NY
and died in NYC in 1930. He lived for many years in Milwaukee and published
many of his early songs there. His
After The Ball, published in 1892 is generally considered
to be the watershed song that started the popular song industry in earnest as
a commercial juggernaut. Though Harris wrote many songs over the years, none
ever rose to the level of popularity as After The Ball. See our in-depth
biography of Harris for much more information.
A bit later we find the youth and the maiden, in the first flush
of adolescence, responding eagerly to the throbbing, sensuous measures
of dance music in its various forms. In the Victorian era, and extending
into the first decade of the new century, it was considered unseemly
for couple to dance in public, unless it was a stately waltz. That
began to change. A dance craze swept the nation's urban centers in
the early 1900s, led by young women. Soon nearly every neighborhood
hall, ballroom and saloon with the space was taking advantage of the
phenomenon, and it wasn't long before specialized dance halls sprang
up all over Manhattan. By the 1910s, over five hundred public dance
halls were in service throughout New York City, and nearly one hundred
dancing academies were in operation teaching young people the latest
The Shimmy goes way back to Haitian "voodoo" dances with
the rapid shaking of hips and shoulders. The Nigerians had a dance
called the ""Shika", which is said to have come to
America during the times of slavery and later transformed into the
"Shake and Quiver" around 1900. The Shimmy actually became
a couples dance in the 1930s, but is mainly a solo dance movement.
F. Henri Klickmann(1885 -
1966) also wrote, Floatin' Down to Cotton Town in 1919 with Jack Frost
and Waters of The Perkiomen in 1935. Klickman was an extremely versatile
composer having written many instrumental and ragtime compositions such as A
Trombone Jag (1910) and High Yellow Cake Walk and Two Step (1915)
as well as a wide variety of songs. Interestingly, Waters of The Perkiomen was originally a work for accordion. Klickmann wrote quite a few pieces for
accordion and is one of the more popular composers for that instrument. In addition
to all this, he also wrote "classical" style music, including a concerto
for tenor sax. Klickmann wrote a large number of ragtime works that are popular
in today's resurgence of ragtime interest. A simple search of the internet will
return many, many references to his music and a number of sites that feature
He was well known as not only a composer but as an orchestrator
and arranged music for a number of acts including the famous Six Brown Brothers
who were responsible for the popularization of the saxophone in vaudeville and
recording. Klickmann composed a number of pieces they recorded in 1916 and 1917
as well as published commercial arrangements of them including the tune
Chicken Walk. There is an audible improvement from 1914-15 in the sophistication
of the writing attributed to Klickmann. Klickmann composed in a wide range of
popular styles and his hits include; Sweet
Hawaiian Moonlight (Sibelius scorch format); Good-Bye (1914)
a "hesitation waltz"; Knockout Drops Rag; The Dallas Blues (1912), and My Sweetheart Went Down with the Ship, a 1912 tear jerker
about the Titanic. With a long and fruitful life, Klickmann turned to arranging
in later years and arranged some of Zez Confrey's great piano jazz works such
as Kitten On The Keys.
The effect which stirring, martial music has on troops, whether on
the march or actually going into battle has long been known by military
experts; stimulating to courage, fortitude, and patriotism. It is
not without good reason that the band is considered as necessary a
part of the equipment of every division as the unit flag or its munitions
We have written extensively about E. T. Paull and his music over the years. This piece is very typical of Paull and as he often did in other marches, he borrows heavily from other marches he published. The introductory passage as well as the following section are almost note for note copied from some of his other works. Closing in on his final years at the time of this piece, it is as though he has run out of energy and creativity. None the less, his marches were wildly popular and despite the re-use of prior materials, his works continued to be purchased and played in parlors all across the world.
(Edward Taylor) Paull(February 16, 1858 - November
27, 1924) Was the son of Virginia farmers and started his musical career as manager
of a music store, selling pianos and organs in Martinsburg , Virginia around
1878. It is unclear as to his activities for the next 20 years but his first
successful march was The Chariot Race or
Ben Hur March (MIDI) in 1894. The great success of this march caused
Paull to begin a steady stream of works. He started his own publishing company
around this same period and continued publishing under his name till his death
(at which time the company was bought and continued to publish under the same
name for two years afterward). Though best known today for his marches, Paull
did write other works and even wrote one piece for silent film Armenian
Maid in 1919. Marches were wildly popular and though Paull was capable
of composing fine works, he often obtained works by others and arranged them
and released them under his banner. This work is one such work. His last work
was the 1924, Spirit Of The U.S.A., copyrighted just six weeks before
his death. See our in-depth
biography of Paull as well as our two features on his music from July
2001 and June
1998 to learn more about this man and his music.
Music by: Albert Gumble
Lyrics by: Bartley Costello
When the soldier returns from his/her campaigns to home
and sweetheart, wearing honorable scars and well-earned medals, the
love song and the serenade are the appropriate expressions of the
next vital experience in life and the priceless reward for which that
soldier has toiled and fought. It's time to marry and raise a family.
For the fortunate, although our relationship experiences the inevitable
"bumps in the road", the years are spent together and we
can look back down that road and see fond memories.
Our copy of this piece is a Sunday newspaper supplement from the
September 22, 1912 issue of the Seattle Post-Intelligencer. In 1910,
when this piece came out, you could also hear for the first time,
Down By the Old Mill Stream, Let Me Call You Sweetheart,
and the song that would become the theme song for Sophie Tucker, Some
Of These Days.
Albert Gumble(b. 1883 - d.1946) . Gumble not
only wrote original music but he also arranged for many of Tin Pan Alley's most
prominent composers including; Percy Wenrich, Alfred Bryan, Gus Kahn, Edward
Madden, Bud D. Sylva and Jack Yellen.He wrote the music for at least one Broadway
musical, Red Pepper in 1922 as well as a number of single hits during
the Tin Pan Alley days. Albert Gumble's best known single work work is Bolo
Rag (1908) however his credits also include Rebecca Of Sunnybrook Farm (1914), The Wedding of the Sunshine and the Rose (1915), If You'll
Come Back to my Garden of Love (1917), I'll Do it all over Again (1914) and The Chanticleer Rag.
Music by: Jimmie V. Monaco
Lyrics by: Joe McCarthy
Songs about "goin' home" and regret for ever having left
were regular fare for Tin Pan Alley songwriters. Here we have the
same team that in 1913 gave us You Made Me Love You (I Didn't
Want To Do It), a tune that was a standard for Al
Jolson. And, just as in the 2nd verse of Jolson's Rock-a-bye
Your Baby With a Dixie Melody, "Wonder why I went
away, what a fool I've been", the fellow in this song has
had enough of city life and longs to be back home where strangers
say, "Good Mornin'."
As we pass through our "middle" years and realize we're
on the downhill side of life, this poignant tune kind of sums things
Jimmie V. Monaco(1885 - 1945) Born in Genoa
Italy, (some sources list Fornia as his birthplace.) Monaco came to the U.S.
(Chicago) in 1891 with his parents. Wikipedia states the family emigrated to
Albany, New York when Jimmy was six. He worked as a ragtime player in Chicago
before moving to New York in 1910. Monaco's first successful song Oh,
You Circus Day was featured in the 1912 Broadway revue Hanky Panky.
Further success came with "Row, Row, Row" (lyrics by William
Jerome) in the Ziegfeld
Follies of 1912. Perhaps his best remembered song is You Made Me Love
You (lyrics by Joseph McCarthy) introduced by Al Jolson in 1913 and famously
performed by Judy Garland with revised lyrics as Dear Mr Gable in 1937.
We'll end our musical trip through life by going back to our beginnings.
This is the song that started it all. No, not American popular music,
but Parlor Songs. Those who have been with us for many
years will recall that the original site was inspired by The
Forward Collection, Rick's early hobby site, based on a collection
of music given to him by his parents. Back in 1996 the very first
piece of music that Rick scanned was this tune. Since then, we've
grown to over 1,400 songs that have been scanned, although there are
many that have yet to be featured in an article.
As we get older we long for the things that gave us comfort when
we where young. In 1919, after 4 long years of horror, World War I
was finally over. Prohibition was coming, the Roaring Twenties about
to start and, although no one knew it, the Great Depression was just
around the corner.
Longing for days gone by is a theme that permeates the history of
song to this day. Who doesn't feel the pain and angst of the words
of Those Were the Days by Mary Hopkin?
This article published May, 2012 and is copyright Richard Beil, Richard Reublin and The Parlor Songs Academy.
Thanks for visiting us and be sure to come back again later to see our next
issue or just to read some or all of our over 130 articles about America's
music. See our resources
page for a complete bibliography of our own library resources used to
research this and other articles in our series.
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