Early American Sheet Music: Its Lure and Its Lore, 1768-1889

By Harry Dichter; Elliott Shapiro | Go to book overview
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Confederate Items

Some collectors consider this one of the most interesting phases of all American music. Of course, the patriotic items, written by Southerners on subjects pertaining to the War, are more significant than reprints of Northern songs.

Confederate imprints are those printed in a seceded state. Many songs were published in Kentucky, Maryland and Missouri that were strictly pro-South, but cannot be classified as definitely Confederate imprints. New Orleans imprints after Federal occupation are questionable. Nevertheless, a few of each are listed, as of interest.

ALABAMA, THE. Geo. Dunn & Compy. Richmond, Va. 1864

Respectfully Dedicated TD the Gallant Captain Semmes, His Officers and Crew; And To The Officers And Seamen of the C. S. Navy. By E. King. Author of the Naval Songs Of The South. At head of title: Nautical Song, With Piano Forte Accompaniment. Lith: Geo. Dunn & Compy. [4] pp., music on p. 4.

ALL QUIET ALONG THE POTOMAC TO-NIGHT.

Julian A. Selby. Columbia S. C. [n. d.] Dedicated To The Unknown Dead Of The Present Revolution. Words by Lamar Fontaine. Music by J. H. Hewitt. [4] pp., p. 4 blank.

ff The words of this song were published by a number of Northern music publishers under the title of THE PICKET GUARD, each with a different musical setting.

* BONNIE BLUE FLAG, THE. A. E. Blackmar & Bro. New Orleans. 1861

[Copyright], Entered . . . 1861 by Harry Macarthy. . . . Composed, Arranged And Sung At His Personation Concerts By Harry Macartby. The Arkansas Comedian. Figure 4 above imprint. At bead of title: To Albert G. Pike. Esq. The Poet Lawyer of Arkansas. Lith. W. H. Leeson. N. 0. [n. art.] 6 pp., p. 2 blank, adv. on p. 6. Plate Mark 46.

Illustration: Crossed flags in center. At left, blue flag with single star. At right Stars and Bars with 11 white stars and 3 stripes. In two colors.

ff This is not believed to be the first edition. Very thorough investigation amongst collectors and in libraries discloses that there were variations on every printing of this song. One of the earliest editions known has a type-set cover, and engraved music plates that do not, however, bear either the numbers 46 or 57. We have seen the above illustrated copy with both music plates 46 and 57, and also with plates set from Music Type.

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Early American Sheet Music: Its Lure and Its Lore, 1768-1889
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