"Always!" (w. Charles Horwitz m. Frederick V. Bowers) - May Kelso on Edison Records - Harry Macdonough on Edison Records
"Asleep In The Deep" (w. Arthur J. Lamb m. Henry W. Petrie) - William Hooley on Edison Records
"At A Georgia Camp Meeting" (w.m. Kerry Mills) - John Terrell on Berliner Records - Dan W. Quinn on Edison Records & Columbia Records - banjo Vess L. Ossman on Columbia Records
"Ave Maria" (w. (Fr) Paul Bernard m. Charles Gounod) - M. A. Guarini on Edison Records - W. D. McFarland on Berliner Records
"Because" (w. Charles Horwitz m. Frederick V. Bowers) - Albert C. Campbell on Edison Records - Sousa's Band on Berliner Records
"Believe Me, If All Those Endearing Young Charms" (w. Thomas Moore m. trad) - J. J. Fisher on Edison Records
"The Boy Guessed Right" (w.m. Lionel Monckton) - Albert C. Campbell on Edison Records & Berliner Records
"The Cake Walk" (trad US) - Eugene Stratton with piano Leslie Stuart on Berliner Gramophone
"Calvary" (w. Henry Vaughn m. Paul Rodney) - Albert C. Campbell on Berliner Records
"Down The Road" (w.m. Fred Gilbert) - Gus Elen on Berliner Gramophone
"Eli Green's Cakewalk" (w.m. David Reed & Sadie Koninsky) - banjo Vess L. Ossman on Edison Records
"Emmet's Lullaby" (w.m. J. K. Emmet) - George P. Watson on Edison Records
"Funiculi-Funicula" (w. G. Turco m. Luigi Denza) - Hotel Cecil Orchestra on Berliner Gramophone
"The Future Mrs 'Awkins" (w.m. Albert Chevalier) - Albert Chevalier on Berliner Gramophone
"God Save The Queen" - Frank C. Stanley on Edison Records - Sousa's Band on Berliner Records
"Gypsy Love Song" (w. Harry B. Smith m. Victor Herbert) - Eugene Cowles on Berliner Records - William Hooley on Edison Records
"Hands Across The Sea March" (m. John Philip Sousa) - Peerless Orchestra on Edison Records - Sousa's Band on Berliner Records
"Hearts And Flowers" (w. Mary D. Brine m. Theodore Moses Tobani) - violin Chris De Arth on Berliner Records
"Hello! Ma Baby" (w.m. Ida Emerson & Joseph E. Howard) - Arthur Collins on Edison Records - Len Spencer on Berliner Records & Columbia Records
"The Holy City" (w. Frederick Edward Weatherly m. Stephen Adams) - Harry Macdonough on Edison Records
"Home Sweet Home" (w. John Howard Payne m. Sir Henry Rowley Bishop) - whistling John Yorke Atlee on Berliner Records
"I Dreamt I Dwelt In Marble Halls" (w. Alfred Bunn m. Michael William Balfe) - J. W. Myers on Berliner Records
"I Guess I'll Have To Telegraph My Baby" (w.m. George M. Cohan) - Arthur Collins on Edison Records - Edward M. Favor on Berliner Records - George J. Gaskin on Columbia Records
"I'd Leave My Happy Home For You" (w. Will A. Heelan m. Harry Von Tilzer) - Arthur Collins on Edison Records
"If It Wasn't For The 'Ouses In Between" (w. Edgar Bateman m. George Le Brunn) - Gus Elen on Berliner Gramophone
"It's A Great Big Shame" (w.Edgar Bateman m. George Le Brunn) - Gus Elen on Berliner Gramophone
"Jack's The Boy" (Greenbank, Jones) - H. Scott Russell with p. Fred Gaisberg on Berliner Gramophone
"Just As The Sun Went Down" (w. Karl Kennett m. Lyn Udall) - J. W. Myers on Berliner Records - S. H. Dudley & Harry Macdonough on Edison Records
"Just One Girl" (w. Karl Kennett m. Lyn Udall) - Sousa's Band on Berliner Records - Albert C. Campbell on Edison Records - H. Scott Russell with p. Amy Williams on Berliner Gramophone - J. W. Myers on Columbia Records
"Kathleen Mavourneen" (w. Annie Crawford (Barry) m. Frederick William Nichols Crouch) - William Hooley on Edison Records
"Kiss Me, Honey Do" (w. Edgar Smith m. John Stromberg) - Albert C. Campbell on Berliner Records - Len Spencer on Berliner Records & Columbia Records - Arthur Collins on Edison Records
"Little Dolly Daydream" (w.m. Leslie Stuart) - Eugene Stratton on Berliner Gramophone
"The Lost Chord" (w. Adelaide A. Proctor m. Sir Arthur Sullivan) - William F. Hooley on Berliner Records
"Mandy Lee" (w.m. Thurland Chattaway) - Albert C. Campbell on Edison Records - Arthur Collins on Edison Records
"'Mid The Green Fields Of Virginia" (w.m. Charles K. Harris) - Albert C. Campbell on Berliner Records - S. H. Dudley & Harry Macdonough on Edison Records - George J. Gaskin on Columbia Records
"Mister Johnson, Turn Me Loose" (w.m. Ben Harney) - John Terrell on Berliner Records
"Molly's The Girl For Me" - J. Aldrich Libbey on Columbia Records
"The Moth And The Flame" (w. George Taggart m. Max S. Witt) - Albert C. Campbell on Edison Records - J. J. Fisher on Edison Records
"My Little Georgia Rose" (w. Robert F. Roden m. Max S. Witt) - Jere Mahoney on Edison Records
"My Old Dutch" (w. Albert Chevalier m. Charles Ingle) - Albert Chevalier on Berliner Gramophone
"My Old New Hampshire Home" (w. Andrew B. Sterling m. Harry Von Tilzer) - Jere Mahoney on Edison Records - Byron G. Harlan & A. D. Madeira on Edison Records - Albert C. Campbell on Berliner Records - George J. Gaskin on Berliner Records - The Greater New York Quartette on Columbia Records
"My Wild Irish Rose" (w.m. Chauncey Olcott) - Albert C. Campbell on Edison Records
"Night Hymn At Sea" - Clara Butt & Kennerley Rumford on Berliner Gramophone
"The Old Brigade" (w. Fred E. Weatherly m. Orlando Barri) - H. Scott Russell with piano Fred Gaisberg on Berliner Gramophone
"Old Man's Story" - J. Aldrich Libbey on Columbia records
"Whistling Rufus" (w. W. Murdock Lind m. Kerry Mills) - Len Spencer on Berliner Records - Sousa's Band on Berliner Records - banjo Vess L. Ossman on Columbia Records & Berliner Records - Dan W. Quinn on Edison Records
"Yes, Let Me Like A Soldier Fall" (w. Edward Fitzball m. Vincent Wallace) - Ferruccio Giannini on Berliner Records
"You've Been A Good Old Wagon" (Harney) - Len Spencer on Columbia Records & Berliner Records
The music for film and TV helps to set a scene (for instance, by playing Parisian café music to show we are in Paris) or convey a mood (for instance, using dissonant, high strings to create tension or suspense), telling the audience how to feel about events on the screen.
Second, choral music became the province primarily of amateur performers in the late eighteenth and nineteenth centuries, as churches and courts became too poor to support large choirs and as choral societies, groups that perform choral music for their own pleasure, became prominent.
What wind music there is by eighteenth- and nineteenth-century classical composers tends to be light entertainment music, and the great exceptions are not numerous enough to establish the wind quintet or symphonic band repertoire as a classical medium on a par with piano music, art songs, string quartets, orchestral music, and opera.
Feeds |
Contact