PM023 STEPHEN C. FOSTER (1826 - 1864) 2, more doo dah.
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Ok, you might not associate the mighty 375 voice Mormon Tabernacle Choir with simple Stephen Foster melodies, but there are some reasons why you should. All Foster songs really come to life when song in groups, always a favorite of trios and quartets. The simple structure calls for improvisation in the harmony that can only occur in an even larger group of voices. The great american Glee Club of the twenties found Foster to be a perfect vehicle where even the audience can join in non-destructively. This was intentional from the first, as most all of these were written specifically or adapted originally for Minstrel group performances. The Tabernacle Choir speciallizes in choral singing of this type, and was organized in 1847 for this purpose, and at the very time Foster was writing these tunes.
That may be all and good, but a cathedral organ instead of a banjo for accompianment? This is exactly how they were performed in parlors across America's heartland in 1860-1900 because the reed organ kept its tune much better than a piano instrument in a harsh environment. The reed organ was quite popular until the jazz age and radio era demanded a more sophisticated ragtime sound from keyboards (and an emphasis on solo performance also).
While some of the songs profess doo dah hilarity, Foster at his best was sentimental and stated thoughts that were deeply emotional. When sung by the choir, they take on a gospel like eloquence.
from BEAUTIFUL DREAMER, Columbia MQ1014Mormon Tabernacle Choir/Richard P. Condie, Alexander Schreiner and Robert Cundick/organ
TRT 44:24
See also PM022 STEVEN FOSTER, PM007 MINSTELS and PM017 MORE MINSTRELS
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