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Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
Bill Frisell recorded the song for his 2019 album Harmony. The song is performed by Petra Haden. Arlo Guthrie, Vanessa Bryan and Jim Wilson release a track of the song on July 31, 2020 (C) 2020 Rising Son Records & Jim Wilson [14] The Longest Johns released a recording of the song in 2021 as the first single of their 2022 album Smoke & Oakum.
This category contains songs that are Parlor music or Parlour music. Pages in category "Parlor songs" The following 17 pages are in this category, out of 17 total.
May the Red Rose Live Alway!" had earned $8.12 in royalties over a seven-year period in his ledger. As a result, Foster concentrated more on minstrel songs, which returned ten times more than parlor songs. Foster did return to writing parlor songs in 1860, most notably "Beautiful Dreamer," published in 1864 just after the composer's death. [2]
Early 1820s music trends The Boston 'Euterpiad becomes the first American periodical devoted to the parlor song. [5]The all-black African Grove theater in Manhattan begins staging with pieces by playwright William Henry Brown and Shakespeare, sometimes with additional songs and dances designed to appeal to an African American audience. [6]
His most famous song is "My Days Have been so Wondrous Free", and his Seven Songs for the Harpsichord were composed in 1788 and dedicated to George Washington. Other 18th-century American song composers. Peter Von Hagen (1750–1803), Dutch born; Alexander Reinagle (1756–1809) Benjamin Carr (1768–1831), English born
The song was a hit record for Elsie Baker in 1912 (Victor B-12069). [9]It has since been recorded by numerous artists, including Sophie Braslau (1916), Dusolina Giannini (1926), Al Bowlly (1934), Bing Crosby (1934 and 1945), Erskine Hawkins (1942), Helen Traubel (1946), Jeanette MacDonald (1947), and as duets by Jo Stafford and Nelson Eddy (1951), and Pat and Shirley Boone (1962).
The most popular coon songs of this early period, however, were written by whites, and only one, "New Coon in Town", has enough syncopation "to foreshadow the true, shouting, ragtime school". Black Americans had also entered the music business by this time, and their syncopated music then came to be identified with real coon songs. [11]