woensdag 16 april 2014

Rose of Alabama (1846) / Oh! Susanna (1848) / O! Susanna (1917) / Banjo Song (1963) / Venus (1969)


The Originals © by Arnold Rypens - OH! SUSANNA

 http://www.folklorist.org/song/Oh!_Susanna

In 1846, Stephen Foster moved to Cincinnati, Ohio, and became a bookkeeper with his brother's steamship company. While in Cincinnati, Foster wrote "Oh! Susanna", possibly for his men's social club. The song was first performed by a local quintet at a concert in Andrews' Eagle Ice Cream Saloon in Pittsburgh, Pennsylvania on September 11, 1847.
It was first published by W. C. Peters & Co. in Cincinnati in 1848., who bought the song for $100, but before they could publish it, it was pirated by a New York publisher (C. Holt Jr.) who printed it with the name of Edwin P. Christy as author. Christy’s Minstrels were rapidly becoming the most popular group in the Bowery theater district of Manhattan, and were to be the chief performers of Foster’s minstrel songs in the 1850s.


Sung by G.N. Christy of the Christy Minstrels in 1848:

068.045.001.webimage.JPEG (565×768)

068.045 - Music of the Original Christy Minstrels, The Oldest Established Band in the United States. Oh! Susanna. | Levy Music Collection

Image 1 of Oh! Susanna | Library of Congress


Other minstrel troupes performed the work, and, as was common at the time, many registered the song for copyright under their own names. As a result, it was copyrighted and published at least 21 times from February 25, 1848, through February 14, 1851.

Sheetmusic 1848 registered by J Turner !!?

Oh! Susanna / [sheet music]:Print Material Page Turner: Performing Arts Encyclopedia, Library of Congress

Sheetmusic 1848 registered by Wells !!?

File:Oh! Susanna 1.jpg - Wikipedia

Sheetmusic 1848 registered by Edward L. White !!?

Oh Susanna! | Library of Congress



Glenn Weiser suggests the song was influenced by an existing work, "Rose of Alabama" (1846), with which it shares some similarities in lyrical theme and musical structure.

SEE HERE:  Oh! Susanna by Stephen Foster - Likely Origins

020.148 - The Rose of Alabama (Words Used by Permission of Turner & Fisher). | Levy Music Collection

Listen here:





But back to Susanna: here's the first recording I could find:

(o) Harry C. Browne and Peerless Quartette (1917) (as "O! Susanna")
Recorded in New York on October 6, 1916
Released on Columbia A 2218


Listen here:



Or here:





(c) The Great White Way Orchestra (1923) (as "Oh Susanna - medley")
under the direction of Hugo Frey
Billy Murray (tenor vocal)
Albert Campbell (tenor vocal)
John H. Meyer (bass vocal)
Recorded June 22, 1923
Released on Victor 19125


The Great White Way Orchestra / The Troubadours – Oh Susanna / Southern Melodies (1923, Shellac) - Discogs

Oh Susanna | Library of Congress






(c) Criterion Quartet (1924)  (as "Oh! Susanna")
Baritone vocal George W. Reardon
Bass vocal Donald Chalmers
Tenor vocal John Young , Horatio Rench
Recorded October 10, 1923
Released on Edison 51295



Criterion Quartet* - Oh! Susanna / Lindy Lady (1924, Edison Disc) | Discogs

Listen here:





(c) Riley Puckett (1924) (as "Oh! Susanna")
Recorded September 11, 1924
Released on Columbia 15014-D.


Riley Puckett - Liza Jane / O! Susanna (Shellac) | Discogs

Listen here:





(c) Chubby Parker (1927) (as "Oh Suzzana")
vocal and whistling; acc. own tbj.
Recorded April 2, 1927 in Chicago, IL
Released on Gennet 6097


Chubby Parker - Oh Suzzana / I'm A Stern Old Bachelor (1927, Shellac) | Discogs

Also released on Champion 15278, Silvertone 5013, 25013, Supertone 9191, Herwin 75548

Listen here:





(c) Dalhart-Robison-Hood (1927) (as "Oh Susanna")
Dalhart, Robison & Hood, vocal trio;
Vernon Dalhart, harmonica and jew's harp; unknown, banjo; 
Carson Robison, guitar;  Adelyne Hood, fiddle; 
Recorded October 27, 1927 in New York
Released on Banner 6137, Domino 4068, Jewel 5159, Oriole 1083, Regal 8450, Challenge 559, Conqueror 7063, Paramount 3075, Broadway 8066, Apex 8688, Lucky Strike 24152, Microphone 22230, Ruby 71034, Sterling 281034


Dalhart, Robison and Hood - Oh Susanna (1927, Shellac) | Discogs

Listen here:





(c) Vernon Dalhart–Carson Robison–Adelyne Hood (1927)
Vernon Dalhart–Carson Robison–Adelyne Hood, vocal trio;
acc. Adelyne Hood, f; Vernon Dalhart, h/jh; William Carlino, bj; Carson Robison, g;
Recorded November 15, 1927 in New York 
Released on Victor 21169


Vernon Dalhart - Carson Robison - Adelyne Hood / Vernon Dalhart - Carson Robison - Oh! Susanna / When The Sun Goes Down (1928, Shellac) | Discogs

http://victor.library.ucsb.edu/index.php/object/detail/18681/Victor_21169

Listen here:





(c) Vernon Dalhart (1927)
Vernon Dalhart, v;
acc. Adelyne Hood, f; Vernon Dalhart, h/jh/ poss. William Carlino, bj; Carson Robison, guitar.
Recorded December 20, 1927 in New York 
Released on Cameo 8116, Lincoln 2770 and Romeo 539


Listen here:





(c) Dalhart–Robison–Hood, v trio;
acc. Adelyne Hood, f; Vernon Dalhart, h; poss. William Carlino, bj; Carson Robison, g.
Recorded December 20, 1927 in New York 
Released on Pathe 32326 and on Perfect 12405
And in the UK on Pathe Perfect P 420

78 RPM - Dalhart, Robison And Hood - Oh Susanna / Shine On Harvest Moon - Pathé Perfect - UK - P420

Listen here:





(c) Vaughn De Leath (1929) (as "Oh! Susanna")
Recorded September 6, 1928
Released on Edison 11037



Also released on Edison 52651


Listen here:






(c) Philadelphia Orchestra  (1929)
Director Leopold Stokowsky
Recorded May 1, 1929

http://victor.library.ucsb.edu/index.php/matrix/detail/800021810/CVE-47969-Oh_Susanna

Listen here:






(c) Don Charles presents The Singing Dogs directed by Carl Weisman. (1955)

Here are The Singing Dogs "barking" Oh! Susanna.
The "A" side of RCA-Victor record number 20-6344 from 1955.

http://www.45cat.com/record/476344





(c) Pete Seeger (1958) (as "Oh Susanna")

On the album "American Favorite Ballads Vol. 2"

https://www.folkways.si.edu/pete-seeger/american-favorite-ballads-vol-2/american-folk/music/album/smithsonian





In 1963 Tim Rose wrote a new arrangement for "Oh Susanna".

(c) Big Three (1963)  (as "The Banjo Song")

45cat - The Big Three [USA] - The Banjo Song / Winkin' Blinkin' And Nod - FM - USA - FM 3003

The Big Three – The Banjo Song (1963, Vinyl) - Discogs

Listen here:





This same arrangement was cleverly used in 1969 by Robbie van Leeuwen to "write" his blockbuster "Venus".

(c) Shocking Blue (1969) (as "Venus")


Listen here:





(c) Byrds (1965)  (as "Oh! Susanna")

A humorous recording of "Oh! Susanna" was the last track on the second album by The Byrds, Turn! Turn! Turn!, in 1965





(c) James Taylor (1970)

James Taylor also included a version of the song on his second album, Sweet Baby James, in 1970.






(c) Taj Mahal (1971)

On the album "Happy Just to Be Like I Am"

http://en.wikipedia.org/wiki/Happy_Just_to_Be_Like_I_Am

Listen here:





(c) Michelle Shocked & Pete Anderson (2004)

On the album "Beautiful Dreamer: The Songs Of Stephen Foster"

Beautiful Dreamer - The Songs Of Stephen Foster (2004, CD) - Discogs

Listen here:  Oh Susannah from Beautiful Dreamer,



(c) Carly Simon (2007)

On the album "Into White".

Into White (album) - Wikipedia

Listen here:





(c) Neil Young and Crazy Horse (2012)

Neil Young and Crazy Horse used Tim Rose's arrangement of "Oh Susanna" 
(see "Banjo Song" by the Big Three 1963)







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zondag 13 april 2014

Wir Sind Die Moorsoldaten (1933) / Lied der Moorsoldaten (1936) / Peat Bog Soldiers (1942)


"Lied der Moorsoldaten" or "Peat Bog Soldiers" was created by 3 prisoners in 1933 in Börgermoor one of the first concentration camps established in Nazi-Germany.


Contrary to popular belief, the song’s creation was neither spontaneous nor collective. Rather, as Rudi Goguel says, it was a ‘conscious protest song of the resistance against their oppressors.’ The lyrics were written by the proletarian poet Johannes Esser, a miner from the Ruhr. The actor and director Wolfgang Langhoff then rewrote some of the passages and added to the refrain. Finally, the sales clerk Rudi Goguel composed the melody.



About two weeks after the composition was finished, the song was premiered on August 27,  1933 as part of the  "Zirkus Konzentrazani"


Below a copy of "Wir Sind Die Moorsoldaten" made by Hanns Kralik in the KZ Börgermoor 1933.
After his release Günter Daus brought this copy outside the camp (archive of Documentation and Information Center Emslandlager in Papenburg, Germany, estate Günter Daus)


1. Wohin auch das Auge blicket,
Moor und Heide nur ringsum.
Vogelsang uns nicht erquicket,
Eichen stehen kahl und krumm.
Refrain:
Wir sind die Moorsoldaten,
Und ziehen mit dem Spaten,
Ins Moor.

2. Hier in dieser öden Heide
Ist das Lager aufgebaut,
Wo wir fern von jeder Freude
Hinter Stacheldraht verstaut.
Refrain:

3. Morgens ziehen die Kolonnen
In das Moor zur Arbeit hin.
Graben bei dem Brand der Sonne,
Doch zur Heimat steht der Sinn.
Refrain:

4. Heimwärts, heimwärts jeder sehnet,
Zu den Eltern, Weib und Kind.
Manche Brust ein Seufzer dehnet,
Weil wir hier gefangen sind.
Refrain:

5. Auf und nieder gehn die Posten,
Keiner, keiner, kann hindurch.
Flucht wird nur das Leben kosten,
Vierfach ist umzäunt die Burg.
Refrain:

6. Doch für uns gibt es kein Klagen,
Ewig kann's nicht Winter sein.
Einmal werden froh wir sagen:
Heimat, du bist wieder mein:
Dann ziehn die Moorsoldaten
Nicht mehr mit dem Spaten
Ins Moor!


As we can see above, the original setting of the song with Rudi Goguel's music, contained 6 verses.
The three notes that are repeated at the beginning stand for the desolateness of the camp. According to the composer, they are intended to recreate the bleakness of the moor and the difficult situation in which the "moor soldiers" had to live.
By contrast, the 4/4 beat brings to mind the marching of the workers and as a rhythmic stylistic means reaffirms the idea of "soldiers".
Below the original 6 verses setting of the song, with Rudi Goguel's music.




In 1935 Hans Eisler adapted the song: besides omitting verses 3 and 4, he also made some musical changes. Eisler quickened the pace of the song to 2/4 time and made other changes in rhythm. He also replaced the characteristic repetition of notes at the beginning with a jump of a fourth.

The composer Hanns Eisler was introduced to the "Lied der Moorsoldaten" during a stay in London. He was making records in a studio with Ernst Busch, a fellow exile and singer of proletarian songs. ‘In January 1935,’ writes Busch, a man brought us this song to London. This man said that he had somehow managed to get out of Börgermoor. He gave us the lyrics and tried to sing the melody for us as it had been sung by the concentration camp prisoners. However, as it later turned out, the man in question was not a former ‘moor soldier’, but a German police informant. He had to sing the song over and over again, but it was never quite right, so Eisler picked out a melody himself on the piano.

Hanns Eisler's new arrangement of the song was clearly adapted from "Horch, Kind, horch, wie der Sturmwind weht" (a lullaby of the  Thirty Years' War ) (although this song is about a 17th century war the lyrics were written in 1917 by Ricarda Huch and melody added during the Jugendbewegung (Youth Movement) in Germany.


Listen here to a version by Wolfgang Roth from 1960





Of course "Lied der Moorsoldaten" became world famous in the version by Hanns Eisler. His arrangement became so popular that it was even able to overtake Rudi Goguel’s original in many of the Nazi camps. For Goguel the song developed outside of Germany into a ‘fight and protest song of a public character.’ Eisler’s version made its official debut at the first International Worker’s Music Olympics in 1935 in Strasburg, where it was sung by Ernst Busch. 
Eisler himself brought his arrangement of this song to America, where he gave a benefit concert for the victims of Nazi crimes in the same year. Busch bears much of the credit for the international popularity of Eisler’s version. He traveled in 1935 from the Netherlands to the Soviet Union, where he made the first recordings of this song.


(o) Ernst Busch (1936) (as "Lied der Moorsoldaten")
Recorded in Moscow in 1936.
Released on the Gramplasttrest label



text on the label:
Песня болотных солдат
обр.Г.Эйслера
Эрнст Буш
джаз оркестр и хор

Translates as:
Song bog soldiers (=Lied der Moorsoldaten)
obr.G.Eyslera (=arr. H. Eisler)
Ernst Busch
Jazz Orchestra and Chorus

This version has only verses 1,2,5 and 6 from the original setting of the song.
Listen here:



Or here:


The same master was also released on the SovSong label



As I said above, already in 1935 Hans Eisler himself brought his arrangement of this song to America, where he gave a benefit concert for the victims of Nazi crimes in the same year. 

In January 1937 the song was published in New York City by Workers Library Publishers in the songbook "Songs Of The People".






Ernst Busch also took it to Spain, where it became part in the song repertory of the International Brigades during the Civil War (1936–1939). In 1938 Busch published the songbook and album “Canciones de las Brigadas Internacionales”, which was recorded in 1937, at the front line of the Spanish Civil War, in the Odeon Studio in Barcelona, among them "Das Lied der Moorsoldaten" in a shortened version – presented by Ernst Busch and the choir of the XI. brigade (this was a brigade of German volunteers)

Here's the first edition of the Canciones de las Brigadas Internacionales with the title: Kampflieder der Internationalen Brigaden.



And here's the fifth edition



Here's the original album with six songs on three 78's:






This version has only verses 1,2 and 6 from the original setting of the song.



The same recordings were released by the Keynote label (album # K 101) in the USA in 1940 as "6 Songs For Democracy". (Discos de las Brigadas Internacionales Espana; reissued Music Room International Series/Keynote Records, New York, 1940.)




One of the records bore a sticker reading in Spanish "The defective impression of this record is due to interruptions of electric energy during an air-raid."


Liner notes for this album by Erich Weinert:
Whenever, in the history of the world, freedom has arisen against unfreedom, justice against injustice, the spirit of the people’s uprising has been most clearly and splendidly reflected in its songs, which grew upon the soil of righteous indignation. They were written by the poets who sided with the people; and where there were no such poets the people wrote them themselves.
Innumerable songs arose during the war of the Spanish people against its enemies. And Spanish was not their only language; for the soldiers of the International Brigades contributed songs, in their own languages, which lived and became popular songs with the Spaniards.
In this album Ernst Busch has recorded some of the best and most popular songs of the 11th International Brigade, making the recordings under the most difficult circumstances. These records could not be made during times of peace. How often did the recording or manufacture have to be interrupted because Franco’s bombs were crashing down on Barcelona or the supply of electricity cut off!
But that lends these songs a peculiar charm. For they were created in the midst of the battle, on the firing line, as it were. We trust that they will again awaken, in the outside world, some of the fighting spirit, this fire, out of which they were born.

Paul Robeson also wrote an introduction for this album:
Here are the songs recorded during heavy bombardment, by men who were themselves fighting for the “Rights of Man”.
Valiant and heroic was the part played by the International Brigade in the glorious struggle of the Spanish Republic. I was there in the course of that struggle and my faith in man—in the eventual attaining of his freedom—was strengthened a thousand fold. This album helps sustain that faith. It’s a necessity.
July 4, 1940                                                   Paul Robeson





It was only during the Spanish Civil War that this song became internationally known. From that point on, it could be heard in even more languages. According to Goguel, the song quickly grew ‘into a symbol of the international solidarity against fascism.’ As ‘Le Chant des Marais’ it was popular in France, not only in the résistance. The African American singer Paul Robeson, who likewise sang for the international brigades, made the song popular in the US as the ‘Song of the Peat Bog Soldiers.’



(c) Paul Robeson (1942) (as "The Peet-Bog Soldiers")
Lawrence Brown: piano.
Recorded on January 30, 1942
Released on the album "Songs of Free Men" (Columbia Masterworks M-534)
Wrongly spelled as "The Peet-Bog Soldiers".
("Moorsoldaten" song from a German Concentration Camp)
Sung in English and German  -Arr. Eisler-




Listen here:







The French Foreign Legion use the French version of the song, "Le Chant Des Marais", as one of its marching songs, the sombre tone and timing matching the 88 paces per minute distinctive of the Legion.




(c) Mouloudji (972) (as "Le Chant des Marais")





(c) Pete Seeger (1961)  (as "Peat Bog Soldiers")

On the album "Gazette Vol. 2"


Listen here:




(c) Ian Campbell Folk Group (1962)  (as "Peat Bog Soldiers")

On the album "Songs of Protest"



Listen here:




(c) Mitchell Trio (1965)  (as "Peat Bog Soldiers")

On the album "Violets of Dawn"


Listen here:






(c) Dubliners (1970)  (as "Peat Bog Soldiers")

On the album "Revolution"


Listen here:






(c) RUM (1975)  (as "De Moorsoldaten")

On the album "RUM 3"


Listen here:




(c) Liederjan 1976 (as "Die Moorsoldaten")

On the album "Live aus der Fabrik".


Listen here:




(c) Hannes Wader (1977)  (as "Die Moorsoldaten")

On the album "Hannes Wader singt Arbeiterlieder"



Listen here:




(c) Sjeu (2007)  (as "De Veensoldaten")

On the album "Straat-Zang-Theater"


Listen here:




More versions here:






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