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Tag: music and historical events

  • Mexican National Anthem

    The music to the Mexican national anthem, “Himno Nacional Mexicano,” was composed by Jaime Nunó, a Spanish-born composer. Nunó was a military bandmaster, who adapted an existing melody for the anthem in 1854.

    The lyrics were written by Mexican poet Francisco González Bocanegra. A legend around Bocanegra notes that he first entered the contest, but then declined to participate for some unknown reason. His fiancé then locked Bocanegra in a room with historical themes until he consented and wrote the lyrics.

    The work was officially adopted on September 16, 1854, and formalized by decree in 1943, with performance rules established in 1984.

    Youtube, long version

    El Heraldo de Brownsville,
    July 21, 1958 ·Page 4


    [Loose translation from Spanish to English]

    Anniversary of the Author of the Mexican National Anthem
    MEXICO CITY, D.F. — UPI —

    This Friday marked the fiftieth anniversary of the death of Don Jaime Nunó, a distinguished Catalan musician and author of none other than the music for the Mexican National Anthem.

    Don Jaime Nunó, achieved notoriety along with the inspired Mexican poet Francisco González Bocanegra, the author of the words to the patriotic song. Bocanegra was born in San Juan de las Abades, a town in the province of Gerona, region of Catalonia, Spain, after having lived in the New World, in Cuba and Mexico. He died in New York on this Friday, 1908, exactly 50 years ago.

    Don Jaime Nunó was living in Cuba when, for the third time, the government headed by Don Antonio
    Lopez de Santa Anna issued a call for entries to write the music and lyrics for the National Anthem.
    Nunó submitted the immortal music born of his inspiration to the competition, and his surprise was great and pleasant when he learned of the triumph that had been awarded to him, without dispute, unanimously, because no one like him managed to touch so strongly the emotional fiber of the Mexican soul or to provide a better framework for the practical and lofty verses of González Bocanegra.

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  • “Daughters of Texas” – Sousa March

    John Philip Sousa, known as the March King was in North Texas at the Denton, Texas College of Industrial Arts, an all female school now known as Texas Woman’s University. The famous conductor had come to the area in the fall of 1928 as part of his Golden Jubilee Tour and scheduled two concerts at the college in Denton. After one of the performances, Sousa was presented with a petition signed by 1,700 the students requesting that he compose a march just for them. Sousa agreed and asked the students to suggest names for the musical piece. As far as we know, he received no suggestions for the name but composed the march we now know as “Daughters of Texas.”

    Another wrinkle in the story is as follows. Sousa was nearing the end of his long career and he was also asked by Minnesota businessman Wilbur B. Foshay to bring his band to Minneapolis in 1929. The occasion was to be a four day celebration that would include the dedication of a structure to be known as the Foshay Tower. It was an office building that was to somewhat resemble the Washington Monument.

    Various accounts note that Sousa was in the process of composing his march for the Denton college but in the interest of time, he reportedly adapted his work in progress and used it for the Minnesota celebration. That piece was renamed the “Foshay Tower Washington Memorial March” and was performed there but never published. Sousa then composed a different march for the Denton school. Supposedly, early copies of both marches still exist in some form. The Minnesota trip took place and and the the Foshay Tower was dedicated. Now almost 100 years old, it still stands in Minneapolis today and is currently operated as a hotel.

    The Brattleboro Reformer,
    Brattleboro, VT, March 20, 1929

    The Denton Record-Chronicle reported that the new march named “Daughters of Texas” had been completed in the summer of 1929. The article below from the same newspaper notes that the first copies of the march were delivered to the College of Industrial Arts (C. I. A.) the following year.

    Denton Record-Chronicle,
    Denton, TX, April 29, 1930

    United States Marine Band playing “Daughters of Texas” (YouTube)

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  • Back in Time: Funeral of Pres. James A. Garfield

    By Mike Magers

    President James A. Garfield was shot on July 2, 1881 by Charles J. Guiteau at the Baltimore and Potomac Railroad Station in Washington, D. C. The President lingered for 79 days before succumbing to an infection and passed away September 19, 1881.

    Guiteau had apparently felt snubbed after being involved on the fringes of the presidential campaign and not being appointed to a political post after the election. Guiteau was convicted of the murder of Garfield on January 25, 1882 and he was hanged on June 30, 1882.

    After his death, Garfield’s body was taken to the Capitol Building where it was viewed by 100,000 mourners before it was removed to Cleveland, Ohio for a funeral and burial. The City erected a pavilion guarded by hundreds of military and civilian personnel. The Marine Band led by Conductor John Phillip Sousa performed a piece that he had composed for the occasion, “In Memoriam of President Garfield” and three other works: “Safe in the arms of Jesus” by Deane, “Inflammatus” from the “Stabat Mater” by Rossini and “Nearer my God to Thee” by Mason.

    The funeral service included more hymns, a funeral sermon given by Rev. Isaac Everett. The services closed with the reading and singing of Garfield’s favorite hymn which included the following lyrics: “Ho, reaper of life’s harvest, why stand with rusting blade, until the night draws round thee, and day begins to fade.”

    The United States Marine Band also participated in the graveside services, as noted below:

    from the Ogden Standard, September 27, 1881

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  • United States Marine Band

    By Mike Magers

    The United States Marine Band is believed to be the oldest military band and the oldest performing organization in the country, having been authorized by an act of Congress July 11, 1798. This is the band known as “The President’s Own” because of its unique relationship to the President of the United States. Outgoing President John Adams had requested the band to perform at the Executive Mansion on New Year’s Day, 1801 and incoming President Thomas Jefferson requested that the band play for his inauguration.

    Since that time, the United States Marine Band has performed at every presidential inauguration since. President Jefferson gave the band the title “The President’s Own” in 1801.

    The band’s history is marked with many inaugural “firsts” including its participation in the first inaugural parade on the occasion of President Jefferson’s second inauguration ceremony. It also performed in what is believed to be the first inaugural ball for the inauguration of President and Mrs. James Madison in 1809, held at a Washington, DC hotel.

    Link: the Marine Band’s Inauguration History

    Alexandria, Va. – The Marine Band, conducted by Assistant Director Maj. Ryan J. Nowlin, performed the concert “Traditions” on Feb. 2, 2020, featuring wind band favorites and popular marches. (U.S. Marine Corps photo by Gunnery Sgt. Brian Rust/released)

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  • Honoring the Nation with the Star Spangled Banner

    By Mike Magers

    The individual who wrote the lyrics to our National Anthem, “The Star Spangled Banner,” was Francis Scott Key (1779 – 1843), an American lawyer born in Maryland. He practiced law in Maryland and was well known in District of Columbia life. In addition to his law practice, he wrote poems, hymns and articles on legal topics. Key was an Episcopalian by faith. He was active in his denomination and his personal faith was reflected in his hymns and other compositions.

    A listing of his hymns would include the following(1):

    • Faith
    • If Life’s Pleasures Charm Thee
    • Lord, With Glowing Heart I’d Praise Thee
    • L. M./God, Art Thou My Father?
    • Praise for Redemption
    • The Home of the Soul
    • The Bethel Flag
    • When Troubles Wave on Wave Assailed

    Some of his writing was posthumously published by his brother-in-law. Favorite topics of Key’s centered around patriotism, religious faith and related themes. His most famous work, however was “The Star-Spangled Banner.”

    The ultimate origin of the melody or tune is said to be unknown, though it is attributed to John Stafford Smith, (1750-1836). Smith was a British composer, organist, and musicologist best known for writing the melody for “The Anacreontic Song,” which later was paired with Key’s poem and adopted as the tune for the national anthem of the United States, “The Star-Spangled Banner,” in 1931.

    Key’s poem was written during the War of 1812 and specifically a battle in 1814 in which British forces bombarded Fort McHenry by British forces. Key was inspired by seeing that the American flag had endured the British naval attack.

    One hundred years later, the Austin American in its issue of August 2, 1914 carried the following article:

    State Program, Daughters of 1812

    In accordance with the proclamation that has been issued by Governor O. B. Colquitt to the people of Texas to celebrate the centennial of the Battle of Baltimore and the writing of the “Star Spangled Banner” by Frances Scott Key, a program has been arranged by the Daughters of the United States War of 1812 in Texas for that occasion.

    The proclamation was issued by invitation of the Governor of Maryland to the Governors of all the States to make the writing of our National air a National and State as well as local affair.

    It is earnestly requested by the tate committee Daughters of 1812, to whom Governor Colquitt entrusted the program for the celebration, that every city, every school and church will join in the celebration. The following is the program:

    Program

    Centennial celebration of the writing of the “Star Spangled Banner,” September 13, 1914, arranged by the United States Daughters of 1812 in Texas:

    Call to order and introduction by the Mayor.
    Invocation. minister.
    Song, “America,” audience and band.
    Song, “Lead. Kindly Light,” choirs of churches.
    Song, “Star Spangled Banner,” school children.
    Address, “Christian Citizenship,” minister.
    Lord’s prayer, audience.
    Music, “Columbia, the Gem of the Ocean,” “Star Spangled Banner, band.

    All military organizations, navy. labor day committees and public at large are invited to assist.

    Committee: Mrs. E. P. Smith, chairman; Mrs. George Massie, Mrs. 0. B. Colquitt, Mrs. J. E. Howze, Miss Ethel Bowman, Miss Imogen Fulmore.

    (1) Hymnary.org

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  • Navy Hymn

    by Mike Magers

    The song alternately known as the “Navy Hymn,” “For Those in Peril on the Sea” or “Eternal Father, Strong to Save” dates back to 1860. During the 19th century, hymnbooks typically included sections of hymns devoted to the subject of divine protection for travelers, particularly for naval travel.

    This hymn has likely been the most commonly performed piece of that type over the years. The words were written by clergyman William Whiting and the melody was composed by clergyman and musician John B. Dykes, both of the United Kingdom. Hymn tunes are given names and Dykes named his composition “Melita” in reference to the island where the biblical apostle Paul was shipwrecked in Acts 27. Whiting, who lived in London, is said to have written the words to go with the melody to comfort a young person who was about to set sail for America.

    Whiting (1825−1878) was Master of an Anglican school for musicians and had himself survived a violent storm at sea during which the ship was in danger of being lost. While teaching at the Winchester College Chorister’s School, the story is told, he was approached by a student who related his fear of traveling to Whiting. In response, Whiting wrote a poem that became the basis for the words of the hymn which was published about a year later. Whiting continued to modify the words of the songs as long as he lived, but the words commonly used in hymnbooks have remained relatively standard for many years.

    John Bacchus Dykes (1823−1876) came from a family that included a number of clergymen, but his gift was music. It is said that he was proficient on various instruments, primarily keyboards, violin and horn, and he had been involved performing and composing religious music since his youth. Dykes primarily worked as a church musician and composed complete hymns, dozens of hymn tunes and edited hymnbooks. In addition to the hymn tune used for the Navy Hymn, Dykes also composed “Nicaea” which many would recognize as the melody for the hymn “Holy, Holy, Holy.”

    Use of this hymn by the United States Naval Academy is believed to date back to around 1879 when Rear Admiral Charles Jackson Train instituted it as part of Sunday divine services at the Academy.

    The hymn was gradually added over time to the naval military traditions of the United States, Great Britain and France. It has also been associated with historical occasions. It is said to have been the favorite hymn of President Franklin Delano Roosevelt and was sung at his funeral. It was also performed as the casket of President John Fitzgerald Kennedy was carried up the steps to the United States Capitol Building to lie in state.

    Youtube link to the United States Naval Academy Glee Club performing the Navy Hymn, acapella version.

    Youtube link to the United States Marine Band performing an instrumental version of the Navy Hymn.

    Dedicated to Lieutenant Commander Carl B. Bolin, USN.

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  • El Degüello / El Dagüello

    By Mike Magers

    What music should be associated with the Alamo? There are at least two pieces that are known as El Degüello (alternatively spelled El Dagüello or simply the “Americanized” Deguello). The first is a bugle call traditionally thought to have been played by the Mexican Army and the second is a hauntingly beautiful melody that appears in films such as “Rio Bravo” and “The Alamo.” The latter melody, though a lovely one, is not associated with the actual historical event.

    The bugle call is thought to have been one of several dozen commonly used by the Mexican Army led by General Antonio López de Santa Anna on March 6, 1836. The term El Degüello is believed to have been derived from Spanish bugle calls signalling “attack/beheading/throat cutting/no quarter” or “death without mercy.”

    There were no eye witness accounts that survived to verify the melody, but Amelia Williams wrote an article called “A Critical Study of the Siege of the Alamo” for the Southwestern Historical Quarterly issue of Jan., 1934, published by the Texas State Historical Association. In it Ms. Williams writes of the playing of “the dreadful deguello” and stated that the music had many variants. In her footnotes, she gives credit to Professor Samuel E. Asbury of Texas A&M University for initiating her research on the bugle call and also credits Mr. Luis Chavez Orosco of Mexico City for locating it. Mr. Orosco had been hired by the Mexican government to help document the history of the Texas Revolution. Mr. Orosco’s research led him to the archives of the Mexican Army and to identify the melodies which were most likely used back then for bugle calls. Near the end of her article, she included a page that presented four movements of the bugle call melody, one of which is labeled Vivo. It is this movement that is often heard and associated with the Alamo. The entire page may be viewed here.

    We will close with the embedded video clips below that pertain to the two melodies. The bugle call begins about 10 seconds into the video below. The playback stops when the dialogue begins. This particular clip features audio in Spanish, but it is not difficult to follow. It is from the 2004 film “The Alamo” directed by John Lee Hancock.

    Most likely it was some variation of the bugle call that was played at the Alamo in 1836. The three Youtube links and clips below incorporate the beautiful melody that was originally composed by Dmitri Tiomkin. It is also called The Deguello. It appears to have first been used by Tiomkin in the sound track of the movie “Rio Bravo” and later in “The Alamo” both starring John Wayne and others.

    Howard Hawks directed “Rio Bravo,” released in 1959.

    John Wayne directed “The Alamo,” released in 1960.

    Two popular adaptations of the Tiomkin melody.

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  • Robert Browne Hall

    By Mike Magers

    Most often known simply as R. B. Hall, this composer lived most of his life in Maine. He was born in 1858 and died in 1907. He was born in Bowdoinham, ME to Mr. and Mrs. Nathaniel W. Hall. Robert took lessons on E-flat cornet from his father and later added B-flat cornet to the instruments he played. His father died in 1874 and Robert took a job at a shoe factory to help provide income for his mother and two sisters. He was eventually able to pursue a career in music and first found employment in music as a cornet soloist. Later he served as conductor of various ensembles and taught music at Colby College.

    His rigorous schedule, combined with stress and ill health, resulted in his early death (likely from complications of nephritis) at age 48. Hall’s memory might have faded into obscurity had it not been for several individuals who championed his talent and musicianship. The last Saturday in June is now known as “R. B. Hall Day” after legislation enacted by the Maine State Legislature.

    Image credit – Nashua Telegraph of November 21, 1977

    His memorable works include “Officer of the Day,” “The New Colonial” and one of our favorites, the lesser known “March RLIB” composed for the Richmond Light Infantry Blues.

    Texas trivia note: The Richmond Light Infantry Blues Band performed at the launching of the first battleship of the United States Navy, named the Texas, in 1892. This warship is not to be confused with the more familiar U.S.S. Texas that saw service in World Wars I and II. The word Blues in the name of the Richmond, Virginia military organization referred to the color of their uniforms and not to a genre of music.

    R. B. Hall’s Officer of the Day (YouTube).

    R. B. Hall’s March RLIB (YouTube).

    R. B. Hall’s Tenth Regiment – Death or Glory (YouTube).

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  • Roland F. Seitz

    By Mike Magers

    Roland Forrest Seitz was born in 1867 in Pennsylvania to William and Magdalena Zeigler Seitz. His paternal grandparents had come to America from Germany just over 100 years earlier. Roland was the youngest of eight children. His father died when Roland was only three, and as a youth, Roland began working as an apprentice printer to help the family out, although he was always interested in music. A cousin had bought Roland a flute and he joined a family band of oddly mixed instruments including his flute, an organ, a trombone and some violins. A little later, Roland had learned to play the cornet and euphonium and played both in a group known as the Glen Rock Band.

    At the age of twenty-seven, Roland entered Dana’s Musical Institution in Warren, Ohio, graduating in 1898, after which he returned to Glen Rock, Pennsylvania. He rejoined the Glen Rock Band, eventually becoming its conductor. Seitz helped develop the band into a well known performing organization while he also founded his own music publishing company.

    Image credit: The Gazette and Daily, York, Pennsylvania, 4/27/1956

    As the caption in the above newspaper clipping states, the Glen Rock Band happened to be seated at the Pan-American Exposition held at Buffalo, New York on September 5, 1901 at the moment when President William McKinley was shot. The President suffered from the wound for a short time. After a brief rally, the President succumbed to complications from the gunshot wound about ten days later.

    His publishing company printed and marketed works by other well known period composers as well as his own works. At least one account has Seitz publishing a composition by composer/conductor Karl L. King when King was still a teenager. Seitz died on December 29, 1946 in Union County, New Jersey and he was buried at Chestnut Hill Cemetery in his home town of Glen Rock, Pennsylvania.

    Image credit – The Gazette and Daily, York, Pennsylvania, December 30, 1946

    Seitz is known to have composed over four dozen marches during his long career in music. One of his best known works, March Grandioso, or simply Grandioso, was composed in 1901. The march is based on a theme from Franz Lizst’s Hungarian Rhapsody #14 in F Minor. The now familiar march theme appears in the Lizst work in the allegro eroico, early in the piano score.

    Seitz – March Grandioso performed by the United States Navy Band (Youtube)

    Franz Lizst – Hungarian Rhapsody #14 in F Minor performed by György Cziffra (Youtube)

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  • Music of the Civil War

    by Heritage Brass Band

    The Kennedy Center explores the topic of band music during the Civil War.

    Band of the 114th Pennsylvania Volunteer Infantry, in front of Petersburg, Va., August, 1864.

    (Image credit: http://www.kennedy-center.org)

    See the full article below:

    https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/music-of-the-civil-war/

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