A M O N G M Y S o U V E N I R S. Humoresque PERUSAL ONLY JOHN PHILIP SOUSA EDITED BY KEVIN R. TAM CONDUCTORS SCORE CONCERT BAND

Transcription

1 A M O N G M Y S o V E N I R S Humoresque OHN HILI SOSA EDITED BY KEVIN R. TAM CONDCTORS SCORE CONCERT BAND

2 E R SA L O N LY * R O G R A M S *

3 SA R E L O N LY

4 N LY O L SA Circa 1917 E R Sousa at the an aciic Exosition, San Francisco 1915 Sousa and Camille Saint-Saëns, 1915 Most likely at the an aciic Exosition at hich Sousa s Band erormed Saint-Saëns Hail! Caliornia ritten seciically or the event

5 A M O N G M Y S O V E N I R S ohn hili Sousa shall orever e regarded as the March King hoever his ody and scoe o ork extends ell eyond the marches hich made him so amous. From oerettas, vocal orks, overtures, songs, antasies, lirettos, and humoresques, Sousa s rilliance o comosition ranges into every genre o music rom classical to 20 th century American azz. In a rough accounting o Sousa s ody o ork, marches make u only the second numerous o his eorts some 135 march comositions versus over 320 arrangements and transcritions or Band. Outside o his marches, most o the Sousa catalog including his humoresques, remain unulished and largely unheard today. * * * On tour, his concert rogramming as eclectic in nature, eaturing aroximately nine orks, not counting numerous encores hich ere all generally marches. Because o this, his on comositions ere somehat rare on the rinted rogram usually a suite, humoresque, or antasy aeared in one hal o the rogram ith a ne march introduced in the latter. These ould oten e racketed y an introductory overture, a solo iece or small ensemle, a vocal solo ork, and several transcritions and additional instrumental solos. Sousa as the consummate shoman. In everything he did, shomanshi as an essential element and he as quoted many times as saying The man ho does not exercise shomanshi is dead. i This asect o his nature came into ull eect in his humoresques. * The Humoresques * The irst o ourteen Sousa humoresques as comosed in 1885 and as called A Little each in an Orchard Gre, this as olloed y a himsically titled Stag arty at roughly the same time. The Band Came Back as Sousa s ollo-u to his 1892 humoresque Good-Bye in hich the and takes excetion to hat they vie as unreasonale criticism rom their conductor and literally desert him, marching o the stage in sections hile laying melodies relating to travel or loss. At the end o the ork, the and realizes that ayday is coming and rush ack on stage to the tune o Annie Laurie This humoresque is elieved to have een Sousa s anser to Haydn s Fareell Symhony. ii It is not clear ho he came to develo an interest in this orm o comosition ut it certainly seaks to the ry sense o humor o hich he as ossessed, his laconic demeanor layed out erectly in musical orm. Not a man given to outard emotion, oten the only hint o his it to the uninitiated as a tinkle in the eye olloing an aside comment and they ere let ondering hether he as serious or oking. Married to a youthul ie, he oten introduced her and his three children as my our children y my irst ie. In 1919, azz as coming into its on. Sousa as a man ho easily recognized the changing trends in music and quickly caitalized on the increased oularity o this ne genre. Cautious aout endorsing it hoever, he comosed the humoresque Shoing O Beore Comany eaturing and memers shoing o in the azz style either individually or in grous. O azz he said, hat as good as good, hat as ad, as ad, and most o it made you ant to ite your grandmother iii. Desite his sketical emrace o azz, he ould go on to rite a antasy or and entitled azz America hich ecame hugely oular. By 1920, Sousa had or the last e years een including orks and arrangements rom a Mr. Bellstadt, a memer o his and and during that year Mr. Bellstadt ecame ill and unale to rite, leaving a ga in ucoming rograms. But, Sousa turned to and comosed his humoresque on George Gershin s Sanee in only to days. iv Folloing Sanee, in 1922 Sousa seized on another contemorary oular song uon hich to ase a ne humoresque, erome Kern s Look or the Silver Lining - hich he titled ith the same name ut adding the suscrit ith some extra Wadding. To date, these remain the only to Sousa humoresques ulished. His articular sense o humor led him into a degree o local turmoil at the seaside Methodist resort o Ocean Grove during rohiition. Sousa had or many years layed there annually and in 1926, rogrammed his neest and one o his last humoresques The Mingling o the Wets and the Drys, a sort o musical conversation eteen a drinker and a non-drinker hich angered the local religious leaders. Ater much rotest Sousa relented, relacing the ork ith another Follo the Sallo. He as never again invited ack. To add another ry tist, Follo the Sallo as actually aout the migratory atterns o irds. * AMONG MY SOVENIRS * By ay o an old Sousa concert rogram, e learn the narrative o his humoresque Among My Souvenirs. In it, the Nichols song Among My Souvenirs is lengthened into a sketch. Among his souvenirs is a hotograh, letters and a roken heart, and as he meditates, he goes ack eore the roken-hearted time and rememer hen he and she ere sotly singing Tinkling Stars are Laughing, Love and then his mind reverts to the time hen he as Seeing Her Home, recalling the songs o years gone y at Aunt Dinah s Quilting arty he as Seeing Nellie Home, and then he travels to the Far East, and visions o The Road to Mandalay come to him rom that, he meditates on the Seet Mysteries o Lie and then comes the closing icture that he is once more Among my Souvenirs. In this ork, the soter side o Sousa emerges. This nostalgic relection uon lie and music is a dearture rom some o his other entries in his catalog o humoresque comositions, most o hich are o a decidedly more mischievous nature. The songs Tinkling Stars are Laughing, Love, Dinah s Quilting arty/bringing Nellie Home and the song excert ith hich he ends the iece truly ere among his souvenirs they all aear in other Sousa comositions.

6 * AMONG MY SOVENIRS 2013 * The original arts or Among My Souvenirs are housed at the Sousa Archives at the Center or American Music, niversity o Illinois. The score has een lost to history and no longer exists. These archives, a trove o Sousa s original manuscrits and scores, have enaled this and countless otherise endangered assets o American music to survive and the niversity is to e oth commended and suorted or their eorts. Sousa, alays an advocate or ormal education, donated his erormance lirary to the niversity o Illinois osthumously. Stored in three arehouses in Ne York City, thirty nine trunks and to oxes containing 9,170 ounds o music ere shied to the niversity in August o Alert Harding, director o ands, used the Sousa collection to augment the reertory o the university and, also loaning sets to colleagues such as Edin Franco Goldman. Notes y university music students ound in the Sousa Collection indicate that memers o Harding s arranging class studies oth the manuscrits and ulished arrangements. Reconstructing Among My Souvenirs as made more diicult y the lack o a score. arts, oten ragmented or damaged through handling and time ere also ound to disagree ith each other in durations o multi-measure rests. While reserving the original instrumentation, douling cues have een added in several voices to comensate or instrumentation that may not e availale to all modern ands. E R SA L O N LY The Sousa and erormed this ork many times and in many dierent venues. At some oint an otional cut as marked in the arts rom the icku to measure 155 through the icku to measure 177. The virahone art should tacet here noted i the har is resent. age one o original Flute art or Among My Souvenirs. i Keeing Time Saturday Evening ost, Decemer 2, 1925 Six Marches o ohn hili Sousa Music o the nited Stated o America, Volume 21 iii Ne York Herald Triune, Decemer 20, 1926 iv Music, Sousa as an Institution Ne York Times, Setemer 19, 1920 ii

7 iccolo Flute 1 Flute 2 3 Ooe Clarinet in B 1 Clarinet in B 2 3 Alto Clarinet Bass Clarinet Bassoon 1 2 Alto Sax Tenor Sax Baritone Sax Bass Sax Horn in F 1 2 Horn in F 3 4 Cornet 1 Cornet 2 Trumet in B 1 2 Tromone 1 2 Tromone 3 4 Euhonium 1 2 Conductors Score Doule Bass Virahone Arox: 7'34" Har Moderato molto C C C C C C C C C C C C C C C C C C C C C C C C C C C 1 A M O N G M Y S O V E N I R S 2 3 rit. Humoresque Tacet unless no Har g g g 4 one stand to Flute a temo dolce # dolce... dolce... dolce g g g dolce 5 # n n n g g g 7 ohn hili Sousa (1928) Ed. Kevin R. Tam Kevin R. Tam

8 2 Fl. Fl. 1 Fl Flute Bsn. 1 2 # B. Sx. Hn. 1 2 Vi. H n # n n n

9 Fl. Fl. 1 Fl # 3 # #.... Bsn. 1 2 n #.... B. Sx. Bs. Sax. Hn. 1 2 Hn. 3 4 Vi. H n Solo F... Solo

10 4 Fl. Fl rit. # 30 Fl. 2 3 n n n n # # n # I Bsn. 1 2 B. Sx. Bs. Sax. Hn. 1 2 Hn. 3 4 Cnt. 1 Cnt. 2 B Tt. 1 2 Tn. 1 2 Euh # n n n n Solo Mute Mute Mute # Solo Mute Tromone Mute I # # # n n # #

11 5 Fl. Fl. 1 Fl. 2 3 Bsn. 1 2 Hn. 1 2 Hn. 3 4 Cnt. 1 Cnt. 2 Euh to icc n n n n n n n n # # n n # # 39

12 6 icc. Fl. 1 Fl. 2 3 Bsn. 1 2 B. Sx. Hn. 1 2 Hn. 3 4 Bls. Vi. H Moderato n # # n n n Ooe 1 Solo n F n F n n n

13 7 icc. Fl. 1 Fl n n n. n.... # n # Bsn n.... B. Sx. Hn. 1 2 Hn. 3 4 Bls. Vi Solo. # n. n n n n. n. H

14 8 icc. Fl. 1 Fl n.. n.. n... n. n n n Bsn. 1 2 B. Sx. Bs. Sax. Hn. 1 2 Hn. 3 4 Cnt. 1 Cnt n n.. n.. n n.. n n n n n n Bls

15 Bsn. 1 2 B. Sx. Bs. Sax. Hn. 1 2 Hn. 3 4 Cnt. 1 Cnt. 2 Tn. 1 2 Tn. 3 4 Euh # n # n Solo n #- n ## - nn # - n # - n # - n Oen Oen