Marco has been my private composition student since he was 14 (maybe it was 13… can’t remember). He starts with dual enrollment at Julliard and Columbia this fall. I highly encourage your attendance either in person or live streamed. He is exceptional.
This is the final tune in my current project of arrangements of tunes from Southern Harmony, and Musical Companion (CD title is Simple Hymns, pairing it with last year’s project, Simple Songs).
The music begins with the piano alone, playing what seems to be the melody of the hymn tune, except it’s not. It’s actually a countermelody. Then the strings come in–first the violins, then the cellos–playing what feels like a counter-melody, but it’s actually the real hymn-tune melody.
Things finally straighten out halfway through the arrangement and the piano plays the real hymn-tune melody by itself, followed by the strings playing versions of the original countermelody.
This is another tune from Southern Harmony for which Walker, the 1835 editor, lists a composer: Robert Boyd. Here’s a couple links to info about him: https://hymnary.org/person/Boyd_R and https://hymnology.hymnsam.co.uk/r/robert-boyd. I can’t find any clue to why he might have named this tune New Orleans!
Here’s a scan of the tune in Southern Harmony itself–remember, the melody is in the tenor.
Here’s a link to a little better understand of the four-note shaped-note system (there’s also a 7-note system, which this is not): https://www.britannica.com/art/shape-note-singing.
“Enigma Variations are 14 musical compositions in honour of Elgar’s dearest friends and family. Variation IX, also known as Nimrod, is dedicated to Augustus J. Jaeger, who helped the composer through his darkest periods of self-doubt and depression. Nimrod is a favourite piece for funeral music and is always played at the Cenotaph [https://en.wikipedia.org/wiki/Cenotaph] on Remembrance Sunday.” [https://www.carrollandcarrollfunerals.co.uk/funeral-music/]
I’ve finished mastering my current project (https://soundcloud.com/hilton-kean-jones/sets/songs-from-southern-harmony). Still need to add Nathan’s album artwork and other metadata, then it’s ready to send off. A while back, I mentioned that I’ve discovered over time that the seeds of the next project always seem to lie in the current project. It’s true this time. I want to do more piano-only recordings like these two: https://soundcloud.com/hilton-kean-jones/salem and https://soundcloud.com/hilton-kean-jones/sweet-rivers. Don’t know yet if they’ll be my own tunes, or more folk arrangements, but I know I want to make more solo piano stuff I can just sit down and play for friends and family. A book I often used to recommend to composition students is Hermann Hesse’s “Magister Ludi.” Its conclusion, where the protagonist discovers, after a lifetime of absorption in the complicated Glass Bead Game, the real joy of The Game is playing a simple flute in the forest, parallels needs I feel compelled to satisfy in my next project. Each project satisfies personal needs and teaches me something (about music…and life).
Not all the hymns in Southern Harmony, and Musical Companion are anonymous. Far from it. This one was composed by Matilda T. Durham. Her composer page in hymnary.org is https://hymnary.org/person/Durham_MT. From that page:
“A woman of remarkable intelligence and talents; a most colorful personality. She wrote interesting articles for the religious papers of the day, being noted for the witty repartee that characterized her work. She was outstanding as a music teacher and composer of music, some of her songs being “On Jordan’s Stormy Banks”, “Heavenly Treasure”, and “Star of Columbia”. – from http://www.Kletke.com
It’s a little confusing. Her hymn as it appears in contemporary hymnals can be found HERE. Notice there are verses and a refrain. The original shaped note, reproduced HERE as found in Southern Harmony, doesn’t have a separate refrain but the melodic outline of the refrain is the same as the verse. If you’re new to shaped note music, the melody is found in the tenor, or the staff second stave from the bottom.
My arrangement of her tune is of a different character, completely, from the character of the hymn as presented in contemporary hymnals. I prefer more of a middle eastern dance character.
When I’ve completed the project, the album will credit the attributed composers as well as William Walker, the editor. For more information about this hymn, see https://hymnary.org/tune/promised_land_american.
Sadly, the name, Salem, has a bad reputation after the Salem witch hunts of America’s early days, But, it has a good rep prior to that. Here’s a bit of info on the name’s significance from https://en.wikipedia.org/wiki/Salem_(Bible):
“Salem, the ancient name for JERUSALEM, is referenced in the following biblical passages:
“The name refers to the royal city of Melchizedek and is traditionally identified with Jerusalem. It is also mentioned in Hebrews 7. Possibly a different place is mentioned in Genesis 33:18: “And Jacob came to Shalem, a city of Shechem, which is in the land of Canaan, when he came from Padanaram; and pitched his tent before the city.” The town of Salim corresponds to that location. It is also mentioned in the Gospel of John 3:23: ‘And John also was baptizing in Aenon near to Salim [Σαλείμ], because there was much water there: and they came, and were baptized.'”
This hymn tune is one of two hymn tunes named Salem in Southern Harmony, and Musical Companion. It’s also found in another early hymn tune collection, Dossey’s Choice (https://books.google.com/books/about/The_Choice.html?id=EYQhQkh0I1cC), p. 58.
The titles of the tunes within Southern Harmony, and Musical Companion sometimes require a bit of history even outside of biblical references. Following are several important relevant facts from the Lazy Person’s Guide to the Universe (Wikipedia) about the meaning of the expression, “The New Jerusalem,” to people in the USA who would have contributed tunes during the time of Southern Harmony.
“The following quote are from https://en.wikipedia.org/wiki/New_Jerusalem#Universal_Friends.
The New Jerusalem was an important theme in the Puritan colonization of New England in the 17th century. The Puritans were inspired by the passages in Revelation about the New Jerusalem, which they interpreted as being a symbol for the New World. The Puritans saw themselves as the builders of the New Jerusalem on earth. This idea was foundational to American nationalism.
That is the most relevant reference for tunes in Southern Harmony: it’s typical of understanding of American protestant congregational denominations. The term, however isn’t limited to them, it’s also important to the Catholic church and, of course Judaism, as per this quote.
In the Book of Ezekiel in the Hebrew Bible, New Jerusalem (יְהוָה שָׁמָּה, YHWH-shammah, or YHWH [is] there”) is Ezekiel‘s prophetic vision of a city centered on the rebuilt Holy Temple, the Third Temple, to be established in Jerusalem, which would be the capital of the Messianic Kingdom, the meeting place of the twelve tribes of Israel, during the Messianic era. The prophecy is recorded by Ezekiel as having been received on Yom Kippur of the year 3372 of the Hebrew calendar.
“There is a LOT more at the Wikipedia link at the beginning of this post. It’s fascinating reading and I highly recommend taking a few minutes to go to the link and travel down a few of the rabbit holes there. My personal favorite was https://en.wikipedia.org/wiki/New_Jerusalem#Swedenborgian. My father, a Methodist minister, was, nevertheless, an ardent fan of Swedenborg.
During the pandemic, almost all of us have experienced the midnight cry. Awake in the middle of the night worrying, reliving all of our misdeeds, slights, inventing fear after fear, suffering…
This article — https://health.ucdavis.edu/health-news/newsroom/covid-19-is-wrecking-our-sleep-with-coronasomnia–tips-to-fight-back-/2020/09 — talks about it and has some helpful suggestions.
I’ve suffered from it, too. That’s why almost all of the music videos I’ve recorded during the pandemic were done around 4 am, sometimes even 2 or 3 am. I can really related to the sentiment of the title of this hymn tune from Southern Music, and Musical Companion. Nothing human is really that new is it.
Another new setting of a tune from Southern Harmony. Several of the Southern Harmony hymn tune names have their source in the Hebrew Bible. Every lazy person’s (like me) guide to the universe (Wikipedia) says “ancient Idumea or Edom, [was] a historical region south of Judea and the Dead Sea. This Wikipedia article on Edom (https://en.wikipedia.org/wiki/Edom) has considerable information, including a map. A detail about the sources of Idumea (or Edom) is this: “The Hebrew word Edom means “red”, and the Hebrew Bible relates it to the name of its founder, Esau, the elder son of the Hebrew patriarch Isaac, because he was born “red all over”. As a young adult Jacob, Esau’s brother, stole Esau’s birthright by deceiving their aging father into thinking Jacob was Esau. Jacob for ‘red pottage’. The Tanakh [Hebrew Bible] describes the Edomites as descendants of Esau.
“This hymn tune is another that’s new to me. I think it captures the longing for a home and the feeling of isolation in a remote desert.