Goodwin was leader of the Manchester Cornet Band for several years but apparently did not follow it when its director, Walter Dignam, took the band into service during the Civil War. It is recorded that "in 1863 Mr. Goodwin was leader in Wheeler's circus band, which position he left to accept an opportunity to work in the Springfield armory--the motive behind it being to form an armory band," (Manchester Cornet Band Notebook "band-scraps," Dignam Collection, Manchester Historic Association, Manchester, N.H.). He is a most individual composer, with some remarkably advanced ideas: the asymmetrical phrases of the first part of "Door Latch" are quite as striking as the brilliant soprano solo in the second, played here by Mr. Sanchez. In contrast to the rhythmic intricacy of the piece is its absolutely plain harmonic structure, suggesting, as does the solo passage, the possibility of improvisation; for it is just such simple harmonic schemes that have provided the most suitable basis for melodic improvisation in jazz.

Among Goodwin's other colorfully titled compositions in the Manchester books are 'Pump Handle,' 'Water Witch,' and 'India Rubber Overhauls.'" ]]> http://memory.loc.gov/music/cwband/recs/016.mp3 Mon, 15 Nov 2004 18:13:48 GMT http://www.hellthy.com/7/radio/display.asp?xmlurl=hellthy-earlyamerica-rss.xml www.Hellthy.com Presents:
Artist: Edmund Jaeger, arranged by J. Schatzman Website
Song: Indiana Polka Download MP3



"On September 27, 1974, the Music Division of the Library of Congress recreated a typical concert of brass-band and vocal music from mid-nineteenth-century America. Recorded selections from that concert are presented here.

From Peter's Sax-Horn Journal (Cincinnati: W.C. Peters & Sons [1859]). The piece was also published in 1856 by the same firm in a piano arrangement.

This is the first of three selections for band presented on this recording that were intended not as concert showpieces but rather as functional music for amateur bands of as few as six players. This piece was for dancing; the other two, "Slow March: Midnight!" and the "Lilly Bell Quickstep" were probably for funerals and marching, respectively.

The writing is relatively simple; the tune is always in the E-flat ofB-flat cornets, with the instruments in the middle register filling in the harmony with peck-notes over a conspicuously plain bass line. Contrast is provided between the opening repeated first strain and the middle section by assigning the melody to the E-flat cornets in the former, and the B-flat cornets in the latter.

The percussion parts in these amateur band arrangements seem generally to have been written with the assumption that the drums were played by the feeblest musicians. Good bands, however, had good drummers, and good drummers would quite probably have embellished their parts if they were too dull. Such is the case here. Moreover, the piccolo part has been added.

The popularity of these amateur brass band pieces is demonstrated by the fact that the same arrangements were still being offered for sale in the 1870s." ]]> http://memory.loc.gov/music/cwband/recs/007.mp3 Mon, 15 Nov 2004 18:13:38 GMT http://www.hellthy.com/7/radio/display.asp?xmlurl=hellthy-earlyamerica-rss.xml www.Hellthy.com Presents:
Artist: Stephen Collins Foster Website
Song: Old Memories Download MP3



"On September 27, 1974, the Music Division of the Library of Congress recreated a typical concert of brass-band and vocal music from mid-nineteenth-century America. Recorded selections from that concert are presented here."

Words and music by Stephen Collins Foster. First edition, New York: Firth, Pond & Co., 1853. ]]> http://memory.loc.gov/music/cwband/recs/008.mp3 Mon, 15 Nov 2004 18:13:30 GMT