1837, Frederick Crouch (1808 – 1896) [music found in the archives of the U.S. Marine Corps]
Before moving to America in 1849, Crouch was a well-known English songwriter who often chose Irish themes. The poem, written by Mrs. Marion Crawford, appeared in Metropolitan Magazine, and was immediately set to music by Crouch. The two subsequently met and collaborated further. Crouch played in the Royal Coburg Theatre at age 9. Later, he played cello at Drury Lane and sang in the choirs of Westminster Abbey and St. Paul's. He came to America with an Italian opera company and settled in Virginia. . During the Civil war he enlisted as a private (musician) in the 1st Company, Richmond Howitzer Battalion, a crack Richmond VA militia unit. At the age of 52, Crouch was the oldest member of that organization. After serving in and about Richmond for almost two years, Crouch was discharged for disability and age. After his discharge from the Confederate Army, he entertained troops by singing and performing on trumpet and working at Richmond Hospitals.
Kathleen Mavourneen Quickstep
18--, Frederick Crouch (1808 – 1896) [26th NC, C.S.A. Band Books]
Here is a quickstep, or march version of the famous ballad.
1851, J.C. Greenham [26th NC, C.S.A. Band Books]
William H. Neave arranged this selection, based on the aria “Hear Me, Norma” from the opera Norma by Bellini. His half-brother, “Professor” E.B. Neave was chief musician of the 4th NC, from Salisbury. Born in Scotland, both men were excellent composers and arrangers, judging from the many selections bearing their names found in books of several North and South Carolina bands. In this Irish ballad, the singer beckons Katy to meet him, just after sunrise, in the grove where he will confess his love while being sheltered from the sun's rays. The theme was extended in broadsides where he learns of her death and sings over her grave.
Kingdom Coming (Year of Jubilo)
1862, Henry Clay Work (1832 – 1884) [piano: Root & Cady]
Publisher George Root recognized a masterpiece when he saw it and set out some of the most elaborate promotion this song, culminating with the introduction by Christy's Minstrels prior to its release. The song's success was immediate and overwhelming. Though Work had never witnessed first-hand the slavery situation in the South, he was familiar as his father was active in the Underground Railroad and their home was a “station.” Despite its view, the song was extremely popular in the South. When Blackmar published the song in Augusta, the cover boasted “As Sung by the First Tennessee Opera Troupe,” which was actually the company’s glee club. The song was reportedly sung by Negro troops as they marched into Richmond April 3, 1865.
Kitty Dear & Do They Miss Me At Home
1852, George F. Root & Mrs. S.M. Grannis [26th NC, C.S.A. Band Books]
This medley was one of the favorites of the Stonewall Brigade Band. “Fare Thee Well, Kitty Dear” was written for Henry Wood’s Minstrels and published under the penname G. Friedrich Wurzel. Wurzel is German for Root. This is his answer to Winner’s “Mocking Bird,” as the singer says his good-byes over his beloved Kitty’s grave. Mrs. Grannis collaborated with lyricist Charles W. Glover. It is uncertain, from the lyrics, if the singer is separated from family or is calling from the “great beyond.” A typically morbid bit of Victorian sentiment set to a lively tune.