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Collection Music for the Nation: American Sheet Music, ca. 1820 to 1860

1830 to 1839

Timeline

  1. 1830

    I Know a Bank Where the Wild Thyme Blows. Duet for soprano and alto with piano acc. w., William Shakespeare. m., Charles Edward Horn. E. Riley [1830 or 1831]. (The words are taken from A Midsummer Night's Dream.)

    Jim Crow.
    w., m., anon. Atwill's Music Saloon [ca. 1829]; Baltimore: Geo. Willig, Jr. [ca. 1829-30]. (The words and music have been ascribed to Thomas Dartmouth (Daddy) Rice [2], the famous Negro minstrel[*], who introduced the piece as a song and dance around 1830.)

    My Heart and Lute. w., Thomas Moore (sometimes incorrectly attributed to J. P. Kemble). m., Sir Henry Rowley Bishop. (Composed in 1830.)

    The Pilgrim Fathers--better known as: The Landing of the Pilgrims; also as: The Breaking Waves Dashed High. w., Felicia Dorothea Hemans. m., Augusta Browne (Garrett). DuBois & Stodart [ca. 1830]. (An English edition, publisher unnamed, was listed in The Harmonicon, London, 1831, p. 78, under "New Musical Works" published in March.)

    Sparkling and Bright. w. [Charles Fenno Hoffman], published anonymously--poetry from the New York American. m., James B. Taylor. T. Birch [183-?].

  2. 1832

    America. w., Samuel Francis Smith. m., tune: "God Save the King," attributed to Henry Carey. Boston: Carter, Hendee & Co. [cop. 1832] (in: Lowell Mason, The Choir, or, Union Collection of Church Music, p. 273). (The words were written in February, 1831, and first sung at a children's Fourth of July celebration in Park Street Church, Boston.)

    The Bloom Is on the Rye--better known as: My Pretty Jane. w., Edward Fitzball. m., Sir Henry Rowley Bishop. (Composed in 1832.)

    Bolyston. Hymn tune. m., Lowell Mason. Boston: Carter, Hendee & Co. [cop. 1832] (in: Lowell Mason, The Choir, or, Union Collection of Church Music, p. 165.)

    My Faith Looks Up to Thee. Hymn; tune: "Olivet." w., Ray Palmer. m., Lowell Mason. Utica, N.Y.: Hastings & Tracy & W. Williams, 1832 (in: Thomas Hastings and Lowell Mason, Spiritual Songs for Social Worship, p. 94.)

    Rock of Ages. Hymn; tune: "Toplady." w., Augustus Montague Toplady. m., Thomas Hastings. Utica, N.Y.: Hastings & Tracy & W. Williams, 1832 (in: Thomas Hastings and Lowell Mason, Spiritual Songs for Social Worship, p. 84.)

  3. 1833

    Ching A Ring Chaw. w., m., anon. Baltimore: Geo. Willig, Jr. [ca. 1833.] (Also published under the title "Sambo's Address to His Bred'ren," by T. Birch, New York.)

    Long Time Ago [or, Shinbone Alley]. (1836) w., m., anon. (Popularized by Thomas [Daddy] Rice in his Ethiopian Opera, 1833; published and copyrighted 1835 by George Endicott, New York, with piano accompaniment by William Clifton.)

    Rise, Gentle Moon. w., James Robinson Planché. m., John Braham. (The song was composed for the performance of Planché's play Charles the Twelfth, produced at Drury Lane Theatre, London, 1833. See "Love's Ritornella" under 1829.)

  4. 1834

    By the Margin of Fair Zurich's Waters (Beulah Spa). (1834) w., anon. m., James Gaspard Maeder. (Beulah Spa was a play by Charles Dance, produced at the Bowery Theatre, New York, Sept. 18, 1834. The song was later interpolated by Maeder in his opera The Peri--see 1852. The words and the tune are reprinted in Grenville Vernon, Yankee Doodle-Doo, New York, 1927, p. 137-38.)

    Jesus, Lover of My Soul. Hymn; tune: "Martyn." w., Charles Wesley. m., Simeon Butler Marsh. (Composed in 1834.)

    Zip Coon-also known as: Turkey in the Straw. (1834) w., m., anon. [claimed by (1) Bob Farrell; (2) George Washington Dixon]. Atwill's Music Saloon, cop. 1834, by Thos. Birch.

  5. 1835

    Clare de Kitchen [or, De Kentucky Screamer]. w., m., anon. Boston: C. Bradlee [ca. 1835]. (Frequently printed in songsters after 1836; based upon a song of the same title published and copyrighted 1832 by George Willig Jr., Baltimore.)

    Long Time Ago [or, Shinbone Alley]. See 1833.

    Old Rosin the Beau. 1852 collection) w., m., anon. (The song has enjoyed a consistent popularity since the 1830s, and is still to be found in collections of old time songs. An edition, arr. by J. C. Beckell, was published by Osbourn's Music Saloon, Philadelphia, 1838; and versions were printed by George Willig, Jr., Baltimore, and other publishers. The title is also spelled "Old Rosin the Bow.")

    See, Gentle Patience Smiles on Pain. Hymn; tune: "Federal Street." w., Anne Steele. m., Henry Kemble Oliver. Boston: Carter, Hendee & Co., 1835 (in: Lowell Mason, The Boston Academy's Collection of Church Music, p. 275.)

  6. 1836

    The Carrier Dove. w., anon. m., D[aniel] Johnson. J. F. Atwill, cop. 1836. (The publisher brought out a new edition, cop. 1841 , 1841 (cover only)?), with "Additional words by the Rev. J. N. Maffit." The song provoked an "Answer to Carrier Dove," (1841) w., "A Lady", m., J[ames] G[aspard] Maeder, Henry Prentiss, Boston, cop. 1841.)

    Corn Cobs Twist Your Hair. w., anon. m., tune: "Yankee Doodle." George Endicott, cop. 1836.

    The Light of Other Days (The Maid of Artois). w., Alfred Bunn. m., Michael William Balfe. (Balfe's opera The Maid of Artois was produced at the Drury Lane Theatre, London, May 27, 1836. The song was made famous by the celebrated Mme. Malibran who, with her father Manuel Garcia, introduced Italian opera in New York in 1825. The opera was first given in the United States eleven years later, in New York at the Park Theatre, Nov. 5, 1847, and in Philadelphia at the Walnut Street Theatre, Dec. 29, 1847. Bunn later wrote the libretto of Balfe's opera The Bohemian Girl.)

    Rory O'More. (1839, gtr version) w., Samuel Lover. m., "arranged" by Samuel Lover; also attributed to Robert Owenson. (Written before Lover published his novel Rory O'More which appeared in 1837 in London and was produced in dramatic form at the Adelphi Theatre in the same year. Lover included the poem in his Songs and Ballads, Chapman and Hall, London, 1839, p. 7-8.)

  7. 1837

    The Brave Old Oak. [w., Henry Fothergill Chorley.] m. [Edward James Loder], arr. by Henry Russell, James L. Hewitt, cop. 1837.

    The Friar of the Olden Time--better known as:
    I Am a Friar of Orders Grey. w. [John] O'Keefe. m., "from an old manuscript book," arr. by Henry Russell. J. L. Hewitt & Co., cop. 1837. (Described in the title as "a ballad, supposed to have been written in the 12th century." The words are from O'Keefe's musical play Merry Sherwood.)

    Hark, Brothers, Hark. (1837, Nunns ed?) w., J. H. Willis. m., John Hill Hewitt. Cincinnati: W. C. Peters, cop. 1837; Philadelphia: Geo. W. Hewitt & Co., cop. 1837.

    On Wings of Song--original German title: Auf Flügeln des Gesanges. (no. 2 in: Sechs Gesänge, op. 34). German words, Heinrich Heine. m., Felix Mendelssohn. Leipzig: Breitkopf & Härtel [1837].

    'Tis Dawn, the Lark is Singing. w., anon. m., George James Webb. Boston: J. H. Wilkins & R. B. Carter [cop. 1837] (in: George James Webb and Lowell Mason, The Odeon, p. 8). (The music is now generally sung to the words of George Duffield Jr., "Stand Up, Stand Up, for Jesus" and is called "Webb," or "Goodwin," in present-day hymnbooks. The hymn, "The Morning Light Is Breaking," by Samuel Francis Smith, the author of "America," was set to the music in Moses L. Scudder, The Wesleyan Psalmist, or, Songs of Canaan, D. S. King, Boston, cop. 1842.)

    Woodman! Spare That Tree! (1842) w., George Pope Morris. m., Henry Russell. Firth & Hall, cop. 1837.

    A Yankee Ship and a Yankee Crew. w., J. S. Jones, Esq. m., C. M. King, Esq. Boston: Parker & Ditson, cop. 1873.

  8. 1838

    All Things Love Thee, So Do I. (1838) w., anon. m., Charles E[dward] Horn. C. E. Horn, cop. 1838.

    Annie Laurie. w., anon. m., "arranged by Finlay Dun." Edinburgh: Paterson & Roy, Music Saloon [1838] (in: Finlay Dun and John Thompson, The Vocal Melodies of Scotland, vol. 3, p. 89-92). (The words are believed to have been written about 1688 by William Douglas of Fingland, Kirkcudbright, Scotland. The music, or the tune, was composed by Lady John Scott, née Alicia Ann Spottiswoode, wife of Lord John Montague-Douglas Scott, whom she married in 1836. She was born in 1810 at Spottiswoode, Berwickshire, Scotland, and died there on Mar. 12, 1900. For a brief biographical sketch, consult Grove's Dictionary of Music and Musicians.)

    Flow Gently, Sweet Afton--also known as: Afton Water. (1839) w., Robert Burns. m., J[ames] E. Spilman. Philadelphia: George Willig, cop. 1838. (The music of this setting is not the tune to which Burns wrote his words. Spilman's song is found in nearly all collections of old-time songs, at least in the United States.)

    A Life on the Ocean Wave. w., Epes Sargent. m., Henry Russell. Hewitt & Jacques, cop. 1838.

    Mary of Argyle. w., Ch[arles] Jeffreys. m., S[idney] Nelson. Philadelphia: Fiot, Meignen & Co. [ca. 1838.] (Published earlier in London.)

    'Tis Home Where'er the Heart Is (1845 by Hunter) (Pocahontas). (1844). w., Robert Dale Owens. m., traditional air. (Pocahontas was a tragedy, produced at Wallack's National Theatre, New York, Feb. 8, 1838. The words and tune are reproduced in Grenville Vernon, Yankee Doodle-Doo, New York, 1927, p. 128-29.)

    When Stars Are in the Quiet Skies. (1838) (diff. ed.) w., E. L. Bulwer [Edward George Earle Lytton Bulwer-Lytton]. m., Alexander Ball. Philadelphia: W. R. Bayley, cop. 1838.

  9. 1839

    [Joy to the World.] Antioch. Hymn. [w. Isaac Watts.] m., "from Handel" [arr. by Lowell Mason]. Boston: J. H. Wilkins and R. B. Carter, 1839 (in: Lowell Mason, The Modern Psalmist, p. 14). (The music is dated 1836 in hymnbooks--the year of its arrangement. Mr. Henry Lowell Mason, great-great grandson of Lowell Mason, replying to the present compiler's letter of inquiry, wrote: "Lowell Mason's hymn-tune arrangement, 'Antioch,' was written by him in 1836, insofar as I have been able to ascertain the date. Unfortunately Lowell Mason did not affix a date to many of his productions, but research has led me to conclude that the exact date of 'Antioch' was 1836. And the first publication in book form of the tune . . . was in his The Modern Psalmist"-as noted above. The opening strain is derived from the chorus "Glory to God" in Handel's oratorio Messiah.)

Notes

2. Library of Congress note: Rice was a white man who performed in blackface. [Return to text]

*  Library of Congress note: "Negro minstrel is Variety Music Cavalcade's term for white performers who performed in blackface. [Return to text]

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