 Choreography by Twyla Tharp Music: Suite of Nineteenth Century American Favorites, See below Music arranged by Donald Hunsberger Costumes by Santo Loquasto Lighting by Jennifer Tipton World Premiere: Metropolitan Opera House, New York, 5/1/95 Original Cast: Julie Kent, Robert Hill, Christine Dunham, Charles Askegard, Amanda McKerrow, Parrish Maynard, Keith Roberts, Johan Renvall, Susan Jaffe, Gabrielle Brown, Elizabeth Dunn, Laura Martin, Rosalie O'Connor, Victor Barbbe, Ethan Brown, Chistopher Martin, Michael Owen 
Beginning in the 1850's, the
sound and spirit of America included the
sentimental parlor song, the social music of
vocal soloists and family groups such as the
original Hitchison Family Singers, the
"characteristic" or levee work or dance
song, spirituals, music composed
specifically for the theatre of the day, the
stirring music of the town brass band, plus
the small community social orchestra which
performed for dance occasions. All this and
more forms a vital part of our national
musical heritage. The era before, during,
and after the Civil War was a time of
musical development that would lead to the
popularization of the bands of Sousa and
Gilmore and the eventual development of
the country's symphony
orchestras.
Two composers who contributed greatly to
the development of youngAmerica provide
a large portion of the musical material for
Americans We. Stephen Foster
(1826-1864) became one of the most
popular song composers during the middle
19th century, writing for the parlor and for
the minstrel stage. A set of instrumental
dances arranged for social orchestra by
Foster form part of the "Foster Set" in this
ballet. Henry Fillmore (1881-1956) was a
truly American bandmaster and composer.
His many marches, gallops, instrumental
novelties (rags and gliss compositions for
the trombone), and incidental music
accompanied many a circus presentation.
The opening circus gallops in Miss Tharp's
work have been interpolated into one
composition in which they provide differing
melodic and rhythmic styles. The title
piece, Americans We, is one of
Fillmore's most famous
compositions.
These selections incorporate many of the
indigenous American approaches to
composition and performance styles. Also
used in Americans We is one of the
most sentimental songs to travel across the
seas from its native British Isles -- Believe
Me if All Those Endearing Young
Charms. Originally attributed to Irish
and Scottish heritage, the song soon
became part of America's musical heritage.
In addition, Nicolo Paganini's flight of
fancy Perpetual Motion has been
set in a concerto-like style for two cornets
and orchestra. This setting is very
reminiscent of the cornet solos written at
the turn of the
century.Source: Donald Hunsberger, orchestrater |
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