La Belle Galathea (The Beautiful Galathea)
1863, Franz von Suppe [Stratton Military Band Journal]
Premiering in 1863, it is described as a mythologic/comic opera, and was von Suppé’s first “Viennese” operetta.
In the ensuing commotion, she exposes the hidden Midas and Pygmalion escorts him
out into the street and then chases after him. Left alone with Ganymede, her
flirtations continue and they explore the art of kissing. (Duet) .
1858, Alessio Olivieri / C.S. Grafulla [3rd NH “Port Royal” Books]
The great Italian patriot, Giuseppe Garibaldi, was born in 1807 to a country overrun by France and Austria. By age 25, he was organizing rebellions against foreign oppression, whether in his Italian homeland or others, such as Brazil and Uruguay. Garibaldi's popularity, his skill at rousing the masses, and his military exploits are all credited with making the unification of Italy possible. At the outbreak of the American Civil War, Garibaldi volunteered his services to President Abraham Lincoln and was invited to serve as a major general. Garibaldi declined, stating he would only accept command of the entire Union Army, and only on condition that slavery would definitely be abolished, and the offer was quietly withdrawn.Garibaldi had actually exiled in New York City, in 1850.
During the Austro-Sardinian War of 1859, Luigi Mercantini composed the Hymn of Garibaldi, which was set to music by Oliveri. A version was published in America, with new words by Pasquale Rondinella, entitled “All Forward,” to benefit wounded Union soldiers.
This march version differs slightly from the original publication, and is accompanied by the “Yellow Rose of Texas.”
See St. Patrick's Day & Gary Owen
Gay and Happy Medley
? , H. S. Cartee, Louis Winters and J. Warner [26th NC CSA Band Books]
This medley consists of three songs, “We’re All So Fond of Kissing,” “Gay and Happy,” and “Wilderness.” For the latter, see Old Abe Lincoln, below. The only references to “Kissing” found, to date, has been a broadside mentioning “as sung by John Duley of Perham’s Opera Troupe.” The lyrics instruct not to waste kisses in the dark, but to kiss openly, without shame, for all are fond of kissing. “Gay and Happy” has a diverse history. The original song was composed by Louis Winters and sung enthusiastically by Texas Confederate soldiers “We’re the boys so gay and happy, where-so-ever we chance to be, If at home or on camp duty, ‘tis the same, we’re always free.” Newer words, from a lady’s point of view, were written, (I am the girl that’s gay and happy), which was sung by Philadelphia entertainer Miss Anne Rush, and yet another version was penned by Miss Fanny Forrest and called “I Am the Girl That’s Free and Easy.” J.P. Webster, who wrote Lorena and Sweet By and By, wrote an answer to the song, called “We Are the Gay and Happy Suckers of the State of Illinois,” a song of solidarity for the girls back home, who should never marry a coward, but wait and be a soldier’s bride.
General Birney’s Quick Step
pub: 1870, Alfred Squire [Alfred Squire]
Olde Towne Brass is especially fond of this selection due to its subject, David Bell Birney, second son of antislavery leader James G. Birney, having been born in Huntsville, AL, on May 29, 1825 ― Huntsville being the home of OTB. Another happy coincidence is that his father was born and practiced law in Danville, KY ― now the home of the annual, Great American Brass Band Festival, where OTB regularly performs. After serving a term in the Alabama state legislature, James took the family back to Kentucky, where he helped organize the Kentucky Anti-Slavery Society, later becoming executive secretary of the American Anti-Slavery Society.
When the family moved to Cincinnati, OH, in 1838, James, David and his older brother, William, made lasting impressions on composer and editor, Alfred Squire. English-born Squire, immigrated to the US in 1854, and found work in W.C. Peters publishing house and music store. He enlisted in “H” Company as a Sergeant and was promoted to Principal Musician in the 153rd Ohio Infantry. Squire started his own publishing firm in 1870. Many of his early publications were original songs and arrangements of tunes played by the bands during the Civil War. This is especially true of his Cornet Band Olios, Sets I & II.
David Bell Birney practiced law in Philadelphia from 1856 until the outbreak of the war. Birney joined the 23rd PA and quickly rose to the rank of Brigadier General. He was promoted to Major General for his leadership at Chancellorsville and commanded the III Corps at Gettysburg. He was selected by U.S. Grant to command the X Corps, but fell ill with virulent malaria and passed away in October 1864.
General Taylor Storming Monterey
1848, Simon Knaeble [4th NH, Manchester Cornet Band Books]
Zachary Taylor was elected President on the strength of his brilliant military success in the Mexican War, despite the efforts of his commander, fellow Whig, and political rival, General Winfield Scott. Many popular compositions celebrating Taylor's victories appeared during his campaign.
George Hart's Q.S.
18--, Claudio S. Grafulla (1810 – 1890) / S.C. Foster [4th NH, Manchester Band Books]
The tunes comprising this medley are Old Folks At Home and Oh Boys, Carry Me 'Long.
1853, Allen Dodworth (1822-1896) [Dodworth's Brass Band School, 1853]
Allen Dodworth taught music and dance, often creating new dances to accompany his tunes. The sheet music, published by the family business: H.B. Dodworth & Co., states “A souvenir to his pupils.”
Giorno d’Ororre from Semiramide
1823, Gioacchino Rossini (1792 – 1868) [3rd NH (2nd Brigade- Port Royal) Band Books]
The “Day of Horror” is the literal translation of this otherwise lovely duet from Rossini’s tragic melodrama. Having already killed her husband King Nino, Babylonian Queen Semiramis and her lover, Prince Assur, prepare to make Assur the heir to the throne. During the festivities at Nino’s tomb, the warrior Arsace returns, from a successful campaign, to receive official honors and seek the hand of Princess Azema when, suddenly the tomb opens and the ghost of Nino appears, declaring Arsace will one day be king. Remembering a proclamation by the oracle at Memphis, that peace would be restored with Arsace’s return and marriage, the confused queen misinterprets Arsace’s intentions as a proposal to her, and accepts.
After being informed by the high priest, that he (Arsace) is the son of Nino and Semiramide, and of his murderous mother and Assur, Arsace goes to Nino’s tomb to pray for his mother and avenge his father. He reveals his identity to the queen, but their joy is interrupted when Assur lunges to stab Arsace but misses and kills the queen. As Assur is led off to his judgment, the horrified Arsace accepts the crown and the acclaim of the people.
The operatic duet is for soprano and contralto (Semiramis and Arsaces), which translates effectively to the Eb and Bb cornets. Another arrangement is found in the 4th NH Regt. Band books, where Bandmaster David Downing harmonized the cadenza. This has been included as an option.
The Girl I Left Behind Me
ca. 1758, tune, words: Samuel Lover (1797-1868) [Squire's Cornet Band Olio, Set #1 1871]
This tune, Brighton Camp, was heard in America during the Revolution, as it was popular with both sides. The earliest known publication was in a bi-monthly Dublin magazine, dated around 1805, and attributed to harpist, A. O’Neil. The tune is called I Am Not Twenty in Daniel Steele's 1818 Preceptor for the Fife. The words collected by Lover, supposedly refer to the Crimean War of 1853 and mention leaving for “Brighton Camp.” This is the only connection found in relation to the tune title. The British Navy used it as their official tune of departure until Cheer, Boys, Cheer was adopted for that use. The tune was adopted by the Americans and has become a traditional army song especially associated with the U.S. 7th Infantry. A song parody was later written entitled I Goes to Fight Mit Sigel.
Glory, Hallelujah (John Brown's Body)
1861, William Steffe [piano: Oliver Ditson & Co.]
The tune and “Glory” refrain were written in the 1850's by William Steffe, a Southern Methodist minister and published in 1858 as Say, Brothers, Will You Meet Us. In 1859, soldiers of the 2nd Battalion, Boston Light Infantry added the words about John Brown, a Sergeant in the unit at Fort Warren (not the abolitionist of the same name). This did not stop the general public in promoting the later and adding more words to support the claim. Julia Ward Howe was convinced, by Rev. James Freeman Clarke (of the Sanitary Commission) to write new, more dignified, words to the song after reviewing the troops at Bailey's Crossroads and hearing the crude lyrics sung by the soldiers. That night, in the Willard Hotel in Washington D.C., she awoke, inspired, and quickly penned the new words. Editor James Fields inserted the title Battle Hymn of the Republic when he published the poem in the February 1862 Atlantic Monthly.
Glory, Hallelujah! Grand March
W.K. Batchelder/ arr: Francis Scala [Scala Collection, Library of Congress]
God Save The South
1863, Charles Wolfgang Amadeus Ellerbrock [piano: Miller & Beacham/ Blackmar & Bro.]
With a name like his, Charles Ellerbrock was destined to become a composer. His composition, loosely based on God Save the King, became the un-official National Anthem of the Confederacy— a position it held with several others. Ellerbrock was the arranger on the original Maryland, My Maryland; however, subsequent editions listed the arranger as “A Lady of Baltimore.” George H. Miles wrote the inspiring poem and published under the pseudonym Earnest Halphin.
1866, A. Pindar, Esq. / P. Nutt, Esq. [piano: A.E. Blackmar]
The song refers to the peanut, which had become the dietary staple for Confederate soldiers as rations dwindled away. Georgia soldiers were often called “goober grabbers.” The song was very popular with the troops though it went unpublished until 1866. Note the author and composer's names. Armand Edward Blackmar (1826-1888) believed to be the above was a composer and music dealer. Born in Vermont, he moved south and at age 19 had established music stores in Huntsville, Alabama and Vicksburg, Mississippi. Blackmar taught music in Huntsville from 1845 to 1852 when he became Professor of Music at Centenary College in Jackson, Louisiana. He later set up publishing houses in Augusta, Vicksburg, Mobile, San Francisco and his base in New Orleans.
?, John Rogers Thomas [1st Brigade Band Books]
“Good-Bye, Farewell, Farewell is Often Heard”
Grafulla's Favorite Waltz
18--, Septimus Winner (1827 - 1902) [piano, Winner & Shuster]
Evidently, Grafulla must have told Winner he liked this one. Why else the title? The waltz is dedicated, however; to W.G. Stevenson, Esq. One wonders if there was an earlier title and Winner thought he could capitalize on Grafulla's name recognition.
Grand Fantasia from Il Trovatore
“The Troubadour” was Verdi's first “international smash hit” as much of his earlier work saw only moderate success. In this opera Verdi found his “staple” of operatic themes: unrelenting revenge, sorcery, poisoning, dueling, abductions stake-burnings, beheading and fratricide. Truly tragic opera! Much of the success is due to the popularity of the opera's Anvil Chorus. Act II opens in the mountains of Biscay, where a band of gypsies greet the dawn with joyous singing while rhythmic hammers strike sparks from the anvils. There, before the bonfire, Azucena, the gypsy mystic, sings of an old woman, horribly abused by soldiers, crying “Avenge me!” The gypsies, upset by her song, disperse leaving only Manrico to ask the song's meaning. She tells how her mother was burned at the stake and to avenge her, she stole the Count's eldest son and cast him onto the pyre. Moments later she realized it was her own son she threw as by her side was Manrico, the Count's son. Horrified, Manrico thinks back on a time when in a duel with the Count, some kind of instinct prevented him from finishing the Count while he had him at his mercy. The “Grand Fantasia” is comprised of most of Act II, scene 1, Anvil Chorus, “Stride la vampa!,” (The flame crackles!) “Mesta è la tua canzon!” (Your song is a sad one!) and “Mal reggendo all' aspro assalto,” (Fighting off poorly my fierce attack). The heroic music had a profound effect on troops and their adversaries alike.
Guerrilla Quick Step
Claudio S. Grafulla (1810 – 1880) [pub: 1883 by J.H. Ross] – also 26NC (D12)
Guide Right QS
Claudio S. Grafulla (1810 – 1880 [pub: 1885 by J.W. Pepper]