This is one of a series of posts about books used as source material for Art Song Central.
Heart Songs is more than a collection of music — it is a book compiled directly by twenty thousand people, who not only sent in their favorite songs, but in accompanying letters told how these songs had been interwoven with the story of their own lives. All have been sent in by men and women who loved them; who cared little for the prizes, but desired to add a truly worthy contribution to the collection of Heart Songs. The personal associations of these melodies add to the familiar words a new thrill of heart interest. Each song recalls to the individual reader some tender, sad, joyous or martial association. It is a book which will be to American musical literature what “Heart Throbs” is to prose and verse.
For four years contributions have poured in from all parts of the republic — from neighboring Canada and Mexico; from distant isles of the sea and almost every continent on the globe — yet the harvest was overwhelmingly American, and although sectional features have added much to the variety of songs and to some extent represent days of strife and dissension, the mass of heart tributes shows how nearly and closely all true American hearts beat in unison, and how the bonds of music are strong and universal.
The original plan was to divide the contributions into ten classes as indicated in the announcements: — Patriotic and war songs; sea songs; lullabies and child songs; dancing songs, lilts and jigs; plantation and negro melodies; sacred songs and hymns; love songs; songs from operas and operettas; popular concert hall songs and ballads; college, school and fraternity songs. It was soon discovered that no balanced classification could be made — the tremendous preponderance of love songs, hymns, college songs, ballads, operatic and patriotic airs, any one of which might have been adjudged correctly to two or more classes, soon convinced the judges that to make the book a true reflection of the contributors’ tastes and feelings — a Heart Song book in the true sense — some classes would have to be abridged, and selections made with a view to securing those songs about which cluster personal and heartfelt associations.
In the mails came the yellow, ragged, timeworn music that had been on “mother’s” piano when as a young man “father” timidly turned the music and with a glance silently responded to love’s message. Old songs and hymns came in, betwixt covers that were familiar thirty, forty and fifty years ago. The old-time singing school was represented, and many a stirring strain that had made the crisp winter air ring, as the refrain was sung on a sleigh ride.
Contributors in the far West sent in songs that have the breezy “go” and dash of the intrepid pioneer. Eastern readers preserved for us songs that have been factors in history-making, and the consensus of opinion on patriotic songs reveals “The Star-Spangled Banner,” “Dixie” and “America” as the standard all over the land.
The old time sea songs, the chanteys and stirring airs, sung at capstan and halyard, were sent in by those whose memories of old days were kindled when a request came for music having in it the tang of salt air, the rush of sharp bows against crested seas, and the vikings of forgotten voyages and old wars. “A Yankee Ship and a Yankee Crew,” “Blow, Boys, Blow,” “A Life On The Ocean Wave” came in side by side with “Sailing,” “Nancy Lee” and many others which suggest the scud of the white foam and the careening deck.
The lullabies include some rare gems — plaintive minor airs of the past century, rich with sacred memories of mothers crooning over old wooden cradles, but modern selections, Emmet’s “Lullaby” and the sweet refrain from “Erminie” were not overlooked. “Rock-a-bye, Baby” proved a very popular favorite.
Many of the lilts and dancing tunes are full of suggestions of a remote past, and martial events possess a close kinship to love songs because of romantic memories of festal nights when dainty feet kept time to the strains of “Old Dan Tucker,” as the couples mustered reluctantly for “the last dance.”
Southern contributors brought to light stirring and plaintive melodies that swayed the hearts of millions during the dark days of the Lost Cause, nor did the North forget songs that were sung with heartache and tearful eyes, or cheered march and bivouac. The remarkable interest centering in the old darkey songs — the melodies of the Jubilee singers, breathing of old plantation days, show that the folk songs of America and even our national music of the future must bear the impress of the race that gave us this class of music. This is already indicated in the popularity of “rag time,” which has already found its way into well-known symphonies, reflecting the motif that rings through such an air as “Swing Low, Sweet Chariot.”
Strange to relate, the chief difficulty was in the selection of love songs. While a wide range of selection was offered, the contributors were more insistent on the merit of these particular songs than on any other music sent in, because these melodies had meant so much to them in the days of “love’s young dream.” The man or woman who had found a thrill in singing “Bonny Eloise” could not understand how “Sweet Genevieve” and more modern songs could mean so much to others. Consequently the judges reduced them all to the common denominator of heart interest and found that the old, old story is ever new, and always bewitching, no matter how the melody may vary. “Annie Laurie” is the one great international favorite ballad of all English-speaking people.
There was remarkable unanimity in the choice of hymns. The universal selection seemed to turn to “mother’s favorite,” which had meant so much at the turning point of life’s highway. The choice of “Lead, Kindly Light” and “Come, Thou Fount,” “Rock of Ages,” “Nearer, My God, to Thee” and other hymns loved by many celebrated men, proved these songs to be also the favorites of people all over the world.
In operatic selections the familiar arias of Verdi, echoed around the world, were most in favor. The song of Manrico in the tower appeared to touch more hearts than any other aria sung behind American operatic footlights. Popular opera airs were mingled through the other classes.
The long list of concert songs submitted contained many beautiful and rare selections, but the greater number were songs that have been household words for many a day, and some are still largely sold after nearly a half century of publication. These contributions throw an interesting light on national character. The popularity of “Old Folks at Home” and “My Old Kentucky Home” was emphasized, and “Massa’s in de Cold, Cold Ground” was a strong universal favorite. The melody and sentiment of the songs of Stephen C. Foster come close to the affections of the American people, and Dan Emmet, Henry C. Work, Root and other composers who flourished between 1840 and 1880 are well represented. “Old Black Joe,” “Carry Me Back to Old Virginny” and many other sweetly human songs were sent in by large numbers.
The choice of college songs proved to be a matter of location. There were prime old favorites that have been inherited from the halcyon days of early schools, and are full of patriotic sentiment; many of these are almost classics, being standard tunes with only a variation in the words. “My Bonnie Lies over the Ocean” and “The Quilting Party” appeared equally attractive to various alma maters.
Like “Heart Throbs,” this book represents the history, the sentiment of the American people of today, as well as of the various European races who, in this new world, have been moulded into a great and powerful nation. “Heart Songs” is a valuable and striking gauge and indicator of the popular taste of the people now comprising the republic of the United States of America. Few “rag time” songs were sent in; operatic selections were not largely in favor. Love ballads, patriotic, sacred and concert melodies were the most popular.
Songs that have entertained thousands from childhood to the grave and have voiced the pleasure and pain, the love and longing, the despair and delight, the sorrow and resignation, and the consolation of the plain people — who found in these an utterance for emotions which they felt but could not express — came in by the thousands. The yellow sheets of music bear evidence of constant use; in times of war and peace, victory and defeat, good and evil fortune, these sweet strains have blended with the coarser thread of human life and offered to the joyful or saddened soul a suggestion of uplift, sympathy and hope.
It is not unlikely that a second volume of “Heart Songs” will be demanded by the American public if the publishers can judge by the orders already received for the first. There is ample material not drawn upon, and still more contributions indicate that the mine has only begun to yield its treasury of heart songs.
Boston, 1909
Joe Mitchell Chapple
A number of songs in this volume (and others on the site) are particularly distasteful due to prejudices and words that were, at the time of publication, socially acceptable. Still, it is not the business of Art Song Central to censor materials posted or linked from here. Inclusion of such songs should not be considered an endorsement of such viewpoints.
Songs from this volume will be uploaded as song posts are created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.
