AMERICA'S 250TH BIRTHDAY
ORCHESTRAL CELEBRATION

Charles Ives (1874-1954):  Variations on America

First Performance:  New York City, 1964:  New York Philharmonic, Leonard Bernstein, conductor

Variations on America is one of Charles Ives’ earliest compositions, written in 1891, when he was but 17 years of age, and originally scored for organ.  This orchestration, by American composer William Schuman, features a full woodwind section (plus piccolo), full brass, timpani, percussion, and strings.  It is an arrangement of the national anthem of Great Britain—though it turns out that this traditional tune seems to crop up everywhere:  It has been used in the former national anthems of Russia, Switzerland, and Germany, and is still in use in the national anthem of Liechtenstein, and the royal anthem of Norway.   It was actually the unofficial national anthem of the United States until “The Star Spangled Banner” was so designated in 1931.  Ives gave the premiere performance of the work in 1892 at his Methodist church in Brewster, New York, revising it in 1894.  It went unpublished until 1949, when it was rediscovered by the great 20th century organist E. Power Biggs, who also recorded the work.  Structurally, this work features an introduction prefacing the theme, five variations, two interludes, and a coda.

Peter Boyer (b. 1970):  Rhapsody in Red, White, & Blue

First Performance:  Salt Lake City, Utah, June 2023:  Utah Symphony Orchestra, Jeffrey Biegel, soloist

Jeffrey Biegel, the featured soloist on this concert set, commissioned Peter Boyer to write the Rhapsody in Red, White, & Blue to commemorate the centennial of the premiere performance of George Gershwin’s Rhapsody in Blue, which took place in 1924.  The scoring is substantial, featuring triple woodwinds (including all expected auxiliary instruments), full brass, timpani, a quite large percussion section, and strings.  Similar to Gershwin’s Rhapsody, it is a single movement work containing multiple sections, balancing lyricism with jazz influences.  The piece has been performed by many orchestras as we approach America’s 250th birthday, and it is a goal to feature the work in all 50 states by 2027.

John Stafford Smith (1750-1836):  The Star Spangled Banner

Officially designated as United States National Anthem:  3 March 1931

I can’t help but smile at knowing our National Anthem has its origins in England as the official song of the Anacreontic Society, an 18th century gentlemen’s club of amateur musicians!!  It is, for all intents and purposes, a drinking song (though described as “…convivial, to be performed in a special and stately way…”) entitled “To Anacreon in Heaven.”  It pays homage to the ancient Greek poet Anacreon, who was noted for his erotic writings, as well as songs devoted to drinking and carousing.  Here’s Verse One, to give you some idea:

To Anacreon, in Heav'n, where he sat in full glee

A few sons of harmony sent a petition

That he their inspirer and patron would be;

When this answer arrived from the jolly old Grecian - 

Voice, fiddle and flute, no longer be mute 

I'll lend ye my name, and inspire you to boot 

And, besides, I'll instruct you, like me, to entwine 

The myrtle of Venus with Bacchus's vine

The words that we on this side of The Pond are far more familiar with were penned in September of 1814 by Francis Scott Key (“Defense of Fort McHenry”) whilst aboard a British warship that was bombarding the aforementioned fort during the War of 1812.  The combination of Key’s lyrics with Smith’s tune became highly popular as a patriotic song, officially becoming America’s National Anthem a little over 100 years later.  This version is scored for woodwinds in pairs, full brass, timpani, percussion, and strings.

Howard Hanson (1896-1981):  Song of Democracy

First Performance:  Washington D.C., 1957:  National Symphony Orchestra, Howard Hanson, conductor

Howard Hanson’s Song of Democracy, based on a poem by Walt Whitman, was written to commemorate the 100th anniversary of the National Education Association and the 50th anniversary of the Music Educator's National Conference.  Notable performances of the work include an unofficial presentation in 1957 for President Dwight D. Eisenhower, featuring Howard University’s African-American Chorus, and again in 1969, in celebration of the inauguration of incoming president Richard M. Nixon.  Promoting a vision for tolerance, inclusivity, and human rights, the work is scored for mixed chorus, full woodwinds (including piccolo and English horn), full brass, timpani, percussion, harp, celesta, and strings.

Arr. James Richens (1936-2026):  Lift Every Voice and Sing

Lift Every Voice and Sing originated as a hymn in the late 19th century.  The lyrics are by James Weldon Johnson (1871-1938);  his brother, J. Rosamond Johnson (1873-1954), set the text to music.  Promoting faithfulness, freedom, and thanksgiving, the poem was initially intended as a commemoration of Abraham Lincoln’s birthday, and was first recited by students in Jacksonville, Florida.  As a hymn, it continued to be sung at various schools and taught to others, gaining a wide following, especially in the South, as a result.  The National Association for the Advancement of Colored People began promoting it as the Black national anthem around 1917, officially dubbing it as such two years later.  The arrangement by James Richens being featured in this concert set consists of mixed chorus, full woodwind and brass sections, timpani, percussion, harp, and strings.

Leonard Bernstein (1918-1990):  Overture and Orchestral Suite from Candide

First Performance (Overture):  New York City, 1957:  New York Philharmonic, Leonard Bernstein, conductor

The Overture to Candide by Leonard Bernstein has remained an enduringly popular work since its initial concert performance.  Numerous orchestrations for this work exist;  the one being featured in this concert set includes full woodwinds with most of the expected auxiliary instruments, full brass, timpani, percussion, harp, and strings.  The show tunes referenced in the Overture include The Best of All Possible Worlds, Battle Music,  Oh, Happy We, and Glitter and be Gay.  Bernstein also included melodies written specifically for the Overture itself.  At a memorial concert in 1990, the New York Philharmonic performed the Overture without a conductor as a tribute to the recently deceased Bernstein;  it is a performance tradition that is still maintained by the orchestra unto the present day.

The Orchestral Suite is a series of selections put together from the operetta by Bernstein's former personal assistant (for four years during the 1980s), Charles Harmon.  The delightful cross-section of tunes include the following:  You Were Dead, You Know;  Paris Waltz, Bon Voyage, Drowning Music, The Kings' Barcarolle, Ballad of El Dorado, I Am Easily Assimilated, Entr'Acte, The Best of All Possible Worlds, and Make Our Garden Grow.  Harmon made some minor adjustments to the original orchestration, but by and large, the work stands as originally conceived by Bernstein.