Three Centuries of American Song

              Figure

Three Centuries of American Song
AN UNUSUAL PROGRAM
Presented by
OLIVE NEVIN, Soprano
(In Costume)
AND
HAROLD MILLIGAN, Pianist
Management DANIEL MAYER   Aeolian Hall, New York.



Three Centuries of American Song
IN their costume recital entitled THREE CENTURIES OF AMERICAN SONG, Olive Nevin and Harold Milligan have an offering which is distinctly different from all others and which because of its patriotic and artistic phases is making an especially wide appeal to the general public as well as to musicians.  Unique in material, form and presentation, it outlines the development of American musical composition from its very inception down to the present day.

It is owing to Mr. Milligan that the earliest songs of American composers have been restored to the light of day and have had their hearing in present-day concert halls and so it is only fitting that since he has resurrected and edited them, he should have his part in making them widely known.  Miss Nevin is a soprano who has achieved a very enviable position in the musical world through her recital and concert singing and her appearances with many of the leading orchestras.  Born and brought up in the atmosphere of one of America's most musical families, after her New York and Chicago recitals, at which she recently made her professional debut, the critics assured the public that she stood an artist in her own right.  Her lovely voice, splendid personality and enthusiasm for the work make her an ideal interpreter of this American historical program.

The various groups of songs comprising THREE CENTURIES OF AMERICAN SONG are sung by Miss Nevin in the costume appropriate to each period.  Mr. Milligan's explanatory talk preceding each group of songs is colorfully tinged with the romance of creative genius during America's stormy musical development.  The picturesqueness of costuming and the very human interest of the informal talks make their appeal to various types of audience with unvarying success.

The EIGHTEENTH CENTURY is represented by a group of songs by composers of the Revolutionary Period, sung by Miss Nevin




Three Centuries of American Song
in the powdered wig and voluminous brocaded silk of the day.  This music would have remained unknown to the public of today if it had not been unearthed and edited by Mr. Milligan, whose four volumes of collected music from this century make an invaluable contribution to the musical literature of America.  Himself a musician and composer, he saw in these long-forgotten songs not merely so much historical material, but music which still breathes vitality and appeal.

The NINETEENTH CENTURY is represented by two composers,—Stephen Foster and Ethelbert Nevin.  Mr. Milligan is the author of a biography of the composer of Swanee River, My Old Kentucky Home and a score of other well-beloved melodies.  Features of this group which appeal most strongly to audiences are Mr. Milligan's account of his adventures while tracing the history of America's greatest song-writer through obscure and hitherto unavailable channels, and the singing of several of Foster's most beautiful songs which had been forgotten and fallen into undeserved disuse.

The Foster songs are sung by Miss Nevin in an attractive lacey costume of the hoop-skirt period, while the third group of songs, by Ethelbert Nevin, is sung in modern costume.  Nevin was the most popular composer of his day and his music is a connecting link between the folk-songs of Stephen Foster and the art-songs of today.  As Miss Nevin is a cousin of the composer, her interpretations are authentic.

The TWENTIETH CENTURY is represented by music of the hour, two groups of songs containing some of the finest achievements of contemporary American composers.





Three Centuries of American Song attracted a large audience which was delighted with the appealing and effective program.—
Hartford (Conn.) Courante.


Will be remembered as one of the most delightful programs.  Mr. Milligan spices his lecture with much real humor.
Scranton (Pa.) Republican


Every world of Mr. Milligan's discourse was worth while.  The music-lovers of Concord are indebted to the Music Club for a unique entertainment.—
Concord (N. H.) Patriot.


Miss Nevin's voice is fresh and invigorating and there was something about her performance that was invigorating.  She could be heard often with pleasure.—
New York World.


As a result of his researches Mr. Milligan has acquired a fund of information about our beginnings in music that makes his lecture valuable as entertainment and instruction.—
Newark (N. J.) News


Mr. Milligan has made a considerable study of his subject and what he has to say is very interesting.  Altogether it was an unusual and enjoyable entertainment, which well repaid all who attended.—
Waterbury (Conn.) American.


Mr. Milligan has entered a field almost untrodden when he goes to original sources for his material for history of our early music.  Singer and speaker received an ovation; seldom do two people within so short a time capture the hearts of a town.
Stamford (Conn.) Advocate.


Miss Nevin is endowed with a voice of much richness and broad range.  It is a pleasure to hear her because her diction is close to perfect.  Every word she sings is understood.  Her attractive manner and voice make her perfectly adapted to this charming sort of program.
New Haven (Conn.) Journal.


Miss Nevin's simple directness, her absence of mannerism,—she never once clasped her hands or clawed her chest after the tortured style of matinee heroines too numous to mention,—won sincere applause from an audience that filled the house.—
New York Times.


The Matinee Musical Club gave one of the most interesting programs in its history yesterday afternoon to an audience that completely occupied the Bellevue-Stratford ballroom.  Mr. Milligan's prefatory and explanatory comment was delightful, its informal offhand character adding to its charm.  Miss Nevin made a most agreeable impression.  Her voice is fresh and clear and supple, and she uses it in a manner animated and sincere as though she took pleasure in giving pleasure.—
Philadelphia Leader.




SONGS FROM THE PROGRAMMES OF
OLIVE NEVIN
Barbour, Florence Newell

The Summons of Spring

Beach, Mrs. H. H. A.


Far Awa'
Ecstacy
Exultation
Fairy Lullaby

Branscombe, Gena


A Lovely Maiden Roaming
The Morning Wind
Three Mystic Ships
I Bring you Heartsease
Radiant as the Morning
Dear Lad o' Mine
Hail ye Tyme of Holiedayes
Happiness
Noon
In Arcady by Moonlight
The Open Road
When Twilight Weaves (Arr. from Beethoven)
Only to Thee (Arr. from Saint-Saëns)
Laughter Wears a Lillied Gown

Cox, Ralph

To a Hill-Top

Chadwick, George W.

Request

Foot, Arthur

Mennon

When Winds are Raging

Goatley, Alma

A Garden is a Lovesome Thing Hesperus

What the West Wind Whispers Love Flutes

Grant-Schaefer, G. A.

The Sea

Hopkinson, Francis (1737–1791)

THE FIRST AMERICAN COMPOSER

Six Songs Edited and Augmented by
HAROLD V. MILLIGAN

COLONIAL LOVE LYRICS

Six Songs (a Sequel to The First American Composer)

Edited and Augmented by
HAROLD V. MILLIGAN

Lang, Margaret Ruthven

A Poet Gazes on the Moon

MacDowell, Edward

Merry Maiden Spring

Milligan, Harold Vincent


Storm Signals
Sorrowing Hands
Wheels the Silver Swallow
Invitation

Warford, Claude

Approach of Night



PUBLISHED BY
THE ARTHUR P. SCHMIDT CO.

BOSTON
120 Boylston St.

NEW YORK
8 West 40th St.




VOCAL COMPOSITIONS BY
HAROLD VINCENT MILLIGAN
SUNNY DAYS OF CHILDHOOD


No. 1.  The Caged Bird
No. 2.  Wash Day
No. 3.  Growing
No. 4.  At Dusk
No. 5.  Wishes

Complete 1.00


Anna Bird Stewart wrote the poems, and they are as dainty and attractive as is the music.  Every song is melodious and appealing.—
The Musical Leader.

WHEN LIFE'S AT THE DAWN


Red Apples
The Kind Shepherd
My Creed
Natural Science
Tomorrow
Complete, 1.00


The texts are child poems by Anna Bird Stewart and the compositions worthy additions to this class of literature.—
Musical Monitor.

TOMORROW (Medium Voice)   .50


A simple song, uninvolved yet its whimsicality is not a haphazard result, it is the result of true musicianship and the gift of melodic expression.—
The Musician.

AN INVITATION (2 Keys)   .60

BEATRICE G (c#-g)   .60


A dramatic song with a middle section of purely lyric quality.  The effect of the song should be big and vital.—
Musical America

5 LYRICS BY SARA TEASDALE


Less than the Cloud
Twilight
Pierrot
Her Voice is Like Clear Water
You Bound Strong Sandals on My Feet

Complete, $1.00


They are vivacious, light and cheerful: full of vocal melody that is charmingly accompanied.—
Musical Courier.

A LUTE OF LOVE


My Heart is Like a Lute
Wheels the Silver Swallow
The Dreamer
Storm Signals
Sorrowing Hands

Published in a Keys. Each .50


Well constructed, interesting in material.  Moreover, they possess qual ties of virility as well, to commend them to the singer and teacher.—
Pacific Coast Musician.

ADVENT (2 Keys)   .60


A glorious poem and musical expression for it that matches it finely.—
Musical America.

RIDE ON IN MAJESTY

(Sacred song arr. from Gound) (2 Keys)   .60

IN THE HOUR OF TRIAL (Arr. from Rubinstein) Duet for Soprano (or Tenor) and Alto.   .50



PART-SONGS
WOMEN'S VOICES


RED APPLES (Trio)
.10


THE KIND SHEPHERD (Trio)
.10


AN INVITATION (Trio)
.12


WISHES (Trio)
.12


WASH-DAY (Trio)
10


I'M GWINE TO SING IN DE HEAVENLY CHOIR
.12





MIXED VOICES


WISHES
.12


WASH-DAY
.10


I'M GWINE TO SING IN DE HEAVENLY CHOIR
.12


WHERE YOU GOIN' POOR SINNER?
.12





 MEN'S VOICES


WISHES
12


WASH-DAY
.10


I'M GWINE TO SING IN DE HEAVENLY CHOIR
.12


THE LASSES O' LINTON
.10


THE COUNTRY DANCE
.10


HOMEWARD BOUND
.12





ANTHEMS


THE SHADOWS OF THE EVENING HOURS
.10


THROUGH THE DAY THY LOVE HATH BROUGHT US
.08


GIVE UNTO THE LORD
.12