OPERA ON THE PRAIRIE: A BIOGRAPHICAL AND MUSICAL ANALYSIS

OF FELIX VINATIERI AND THE AMERICAN VOLUNTEER

by

RYAN LANDIS

PAUL HOUGHTALING, COMMITTEE CHAIR

NIKOS PAPPAS, COMMITTEE CO-CHAIR

DONNA MEESTER

THOMAS ROBINSON

JONATHAN WHITAKER

SUSAN WILLIAMS

A DOCUMENT

Submitted in partial fulfillment of the requirements

for the degree of Doctor of Musical Arts

in the School of Music

in the Graduate School of

The University of Alabama

TUSCALOOSA, ALABAMA

2015

Copyright Ryan Landis 2015

ALL RIGHTS RESERVED

ii

ABSTRACT

Felix Vinatieri (1834–1891), an Italian composer, immigrated to the United States in

1859 and eventually settled in Yankton, South Dakota. His service as bandmaster with the

Seventh Cavalry under General George Armstrong Custer has led scholars of his music thus far

to remain focused solely on his band music. However, also of great interest are his American

comic operas; these compositions, dating from 1877 to 1891, are among the earliest surviving

operas composed west of the Mississippi. The composer's favorite, The American Volunteer, was

to have been presented at the Columbian World's Fair in Chicago in 1893, but plans were

abandoned after his death from pneumonia on December 5, 1891.

This document has several purposes. The first is to provide a brief biographical sketch of

the life of Felix Vinatieri. Second, it will provide an abbreviated development of opera within the

United States, specifically focused upon how American burlesque developed out of proceeding

styles and genres. Third, it will provide a closer examination of The American Volunteer, and

consider why Vinatieri referred to it as a burlesque opera. Finally, this document will produce a

functional performance edition of three selections from The American Volunteer. These

selections will be analyzed and comparisons will be made to the music of Vinatieri’s

contemporaries.

Material for this study comes from a variety of sources. Primary sources were drawn

largely from two collections, The Vinatieri Archive at the National Music Museum which held

musical manuscripts, newspaper articles, military documents, and other resources; and The

iii

Dakota Territorial Museum which contained family accounts, and early history for the Dakota

Territories and its residents.

The study of Vinatieri’s music has revealed a competent composer who, though not

innovative in his compositional style, was willing to push boundaries with the content and topics

contained in his work. Being one of the earliest operas composed west of the Mississippi River

The American Volunteer has historical importance and deserves greater consideration.

iv

DEDICATION

This document is dedicated to everyone who helped to guide me through this process. In

particular, I dedicate it to my wife Rachel and son Prakash who have both sacrificed so much

throughout this process. Without their belief, encouragement, and sacrifice I could not have

completed this work.

v

ACKNOWLEDGMENTS

I am pleased to have this opportunity to thank the many colleagues, friends, and faculty

members who have helped me with this document. I am most grateful to Dr. Paul Houghtaling,

the chair of this document committee, for his guidance, insight, and enthusiasm for this research

topic. I would also like to thank all of my committee members, Dr. Nikos Pappas, Dr. Thomas

Robinson, Dr. Jonathan Whitaker, Dr. Susan Williams, and Professor Donna Meester for their

invaluable input, thought-provoking questions, and support of both the document and my

academic progress. I am indebted to Dr. Nikos Pappas for a brief conversation that started me

down this road, and for his continued input and indispensable knowledge and guidance along the

way.

This document would not have been possible without access to the Vinatieri Collection at

the National Music Museum at the University of South Dakota. I would like to thank Dr.

Margaret Banks and Mr. Roger Kelly for their assistance in completing my research at the

National Music Museum. Additionally, I would like to thank the Dakota Territorial Museum in

Yankton, South Dakota for opening their collection of documents and personal affects.

I also would like to thank Derek Holden for his crucial assistance in navigating Finale.

His input and knowledge saved me hours. Additionally, Jennifer Griffith is due many thanks for

her critical eye in preparing this document. I thank all of the various faculty and staff at the

University of Alabama, the University of South Dakota, and UCSI University who have helped

me along the way. Finally, this document would not have been possible without the support of

my friends and fellow students and, of course, of my wife Rachel and son Prakash, who never

stopped encouraging me to persist.

vi

CONTENTS

ABSTRACT ................................................................................................ ii

DEDICATION ........................................................................................... iv

ACKNOWLEDGMENTS ...........................................................................v

LIST OF MUSIC EXAMPLES ............................................................... viii

LIST OF IMAGES ..................................................................................... ix

CHAPTER 1. INTRODUCTION: SOURCE INFORMATION AND

STATEMENT OF PURPOSE .................................................................1

CHAPTER 2. FELIX VINATIERI, A BIOGRAPHY.................................6

CHAPTER 3. THE DEVELOPMENT OF OPERA IN AMERICA .........15

CHAPTER 4. VINATIERI’S STAGE WORKS .......................................28

CHAPTER 5. ANALYSIS OF SELECTED PIECES FROM

THE AMERICAN VOLUNTEER............................................................37

a. “The Beautiful Spring is Coming” .........................................................37

b. “Oh Dear my Sweet Love” ....................................................................46

c. “Oh! What a Sweet Loving Charm” .....................................................52

CHAPTER 6. MODERN PIANO-VOCAL EDITIONS ...........................60

CHAPTER 7. CONCLUSION...................................................................62

CHAPTER 8. MUSIC EDITIONS ............................................................63

a. “The Beautiful Spring is Coming” .........................................................64

b. “Oh Dear my Sweet Love” ....................................................................71

c. “Oh! What a Sweet Loving Charm” .....................................................83

BIBLIOGRAPHY ......................................................................................97

APPENDICES .........................................................................................100

vii

a. Appendix A. Obituary of Felix Vinatieri as printed in Yankton Press and Dakotan,

December 5, 1891.

b. Appendix B. Heart and Love or The American Enchanted Chair Cover

c. Appendix C The Barber of the Reggement Cover

d. Appendix D The American Volunteer Cover

e. Appendix E Order of Musical Numbers in The American Volunteer

viii

LIST OF MUSIC EXAMPLES

1. W. S. Gilbert and Arthur Sullivan, Trial by Jury, .................................................................39

“Hark, the hour of ten is sounding,” mm. 25–27

2. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm. 1–4. ......40

3. Edward E. Rice and J. Cheever Goodwin, Evangeline, “We must be off,” mm. 17–22. ........42

4. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm. 17–20. ...43

5. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm. 32–36 ....44

6. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 2–4. ...................47

7. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” m. 8. .........................48

8. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 10–11.. ..............49

9. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 20–22. ...............50

10. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 28–32. ...............51

11. Georges Bizet, Carmen, “Habanera,” mm.4-6.. ......................................................................53

12. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm. 20–23... ..54

13. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm” mm. 74–79... 55

14. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm. 37–40... 56

15. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” m. 50. ..........57

16. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm. 74–79... ..57

17. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm. 78–81... ..58

18. Felix Vinatieri, The American Volunteer,

“Oh, what a Sweet Loving Charm,” mm. 106–111... ..........................................................59

ix

LIST OF IMAGES

1. Seventh Cavalry Band, Fort Abraham Lincoln, Dakota Territory, 1874...................................10

2. Martha, first opera performed in the Grand Forks Metropolitan Opera House, 1891...............35

1

CHAPTER 1

INTRODUCTION: SOURCE INFORMATION AND STATEMENT OF PURPOSE

Felix Vinatieri (1834–1891), an Italian composer, immigrated to the United States before

1859 and eventually settled in Yankton, South Dakota. His service as bandmaster with the

Seventh Cavalry under General George Armstrong Custer has led scholars of his music thus far

to remain almost focused solely on his band music. However, also of great interest are his

American comic operas; these compositions, dating from 1877 to 1891, are among the earliest

surviving operas composed west of the Mississippi. The composer's favorite, The American

Volunteer, was to have been presented at the Columbian World's Fair in Chicago in 1893, but

plans were abandoned after his death from pneumonia on December 5, 1891.

Vinatieri’s arrival to the Great Plains in the 1870s coincided with the westward expansion

of the United States. The growth in the number of settlers throughout the territory lead to the

growth of small towns throughout the plains. These towns and communities raced to show signs

of culture and development, and the pinnacle of this was the opening of an opera house. While

touring the United States in 1886 Italian native Carlo Gardini encountered a touring opera

company in Cheyenne, Wyoming, then a part of the Dakota Territory. This company, under the

direction of Maestro Arditi, had covered 13,000 miles and given eighty-five performances in

three months.1 Gardini recalled, “The touching melodies of Donizetti heard in a still wild region

1 Andrew Rolle, Westward the Immigrants: Italian Adventurers and Colonists in an Expanding

America (Ninot, CO: University Press of Colorado, 1999), 136.

2

where only a few years before ferocious Indians like Sitting Bull and Crazy Horse roamed, left

an indelible impression upon my mind.”2

While Gardini’s experience, in 1886, illustrates that frontier life was not all violent, as

often is depicted, Rolle states, “Despite admitted lawlessness, life in the West was influenced

fully as much by merchants, bankers, farmers, artisans, educators and musicians as ever by

vigilantes and outlaws.”3 One of these musicians who had a lasting influence upon his

community was Felix Vinatieri.

Material for this study comes from a variety of sources. Primary sources were drawn

largely from two collections, The Vinatieri Archive at the National Music Museum which held

musical manuscripts, newspaper articles, military documents, and other resources; and The

Dakota Territorial Museum which contained family accounts, and early history for the Dakota

Territories and its residents.

The Vinatieri Archive contained the newspaper articles cited within this document.

These articles from the Yankton Daily Press and Dakotan dated January 12, 1871 and

November 8, 1871 describe the founding and nature of the Yankton community band and

provide accounts of several of their concerts. Additional articles offer information regarding the

ball that the citizens of Yankton provided for General George Armstrong Custer and the

Seventh Cavalry on April 30, 1873. Of particular interest were Vinatieri’s obituary which

appeared on December 5, 1891, and an article entitled “A Work in Music” published on June

25, 1891. This article is the first instance naming the completion of The American Volunteer.

Also contained in the Archive is an article from the New York Times that contains a brief

2 Rolle, 136. 3 Rolle, 135.

3

biographical background and musical review of the 1961 Yankton College performance of that

work.

The Vinatieri Archive also contains copies of military documents including his 1861,

1867, and 1873 enlistment documents, and his medical discharge documents from his initial

enlistment. Additional primary sources of importance from this collection include Vinatieri’s

contract to play French Horn for the North Central & South American Exposition, and Route

Book from the Ringling Brothers’ United Monster Railroad Shows, Menagerie, and Museum.

These documents corroborate family accounts of the type of instrumental ensembles in which

Vinatieri played throughout his career.

The Vinatieri family has taken great care to preserve the life and story of Felix’s life

through various written family accounts. These following accounts are all housed at the Dakota

Territorial Museum. The first of these, “The Thing and I,” is a self-biographical sketch by Felix

Samuel Vinatieri, the son of the subject of this document. This work contains seven pages

devoted to the life of Felix Vinatieri and his wife. Other similar family accounts include a

transcript of a lecture entitled “Custer’s Bandmaster” presented on the life of Felix Vinatieri at

Dakota History Conference in 1981 by his granddaughter Corinne E. Vinatieri Heatherly, which

seems to serve as the basis for the entry entitled “Vinatieri, Felix and Anna (Fejfar)” within the

Yankton County History published in 1987.

Sources for the music include manuscripts in the composer's hand held by The Vinatieri

Collection at the National Music Museum. The manuscripts pertaining to The American

Volunteer consist of a piano-vocal score, instrumental parts, and a management book which

4

contains the hand-written libretto and stage instructions.4 The scores have not been published,

but the Vinatieri Archive also contain letters from J. Laiten Weed, former director of the

Yankton College Department of Music, to several potential publishers in the early 1960s.

Scholarly studies of the composer are limited in number. However, research however

does include two dissertations, one by James Richard Gay entitled The Wind Music of Felix

Vinatieri, Dakota Territory Bandmaster., and a brief mention by Penelope Ann Speedie in her

dissertation American operas on American themes by American composers: A survey of

characteristics and influences. (Volumes I and II) which provides a survey of American opera.

Vinatieri’s service as a military musician is notably mentioned by Bruce Gleason in an

article entitled “The Mounted Band and Field Musicians of the U.S. 7th Cavalry During the

Time of the Plains Indian Wars” in the Historic Brass Society Journal., and William Huey’s

article “Making Music: Brass Bands on the Northern Plains, 1860 – 1930” in the Journal of the

Northern Plains.

This document has several purposes. The first is to provide a brief biographical sketch of

the life of Felix Vinatieri. Second, it will provide an abbreviated development of opera within

the United States, specifically focused upon how American burlesque developed out of

proceeding styles and genres. Third, it will provide a closer examination of The American

Volunteer, and consider why Vinatieri referred to it as a burlesque opera. Finally, this document

will produce a functional performance edition of three selections from The American Volunteer.

These selections will be analyzed and comparisons will be made to the music of Vinatieri’s

contemporaries such as W. S. Gilbert (1836–1911) and Arthur Sullivan (1842–1900), Edward

4 The Management Book is a leather-bound book in the composer’s hand which contains a

personnel list, the libretto and dialogue, scenic and costume instructions, and notes on his

intended staging.

5

Rice (1847–1924), Gaetano Donizetti (1797–1848), Gioachino Rossini (1792–1868), and

Georges Bizet (1838–1875).

6

CHAPTER 2

FELIX VINATIERI, A BIOGRAPHY

Felix Villiet Vinatieri was born 1834 in Turin, Italy, as Felice Villet.5 He lost his father at

a young age, forcing him and his mother, Amelia, to move to Naples. Amelia later remarried the

pianomaker, Enrico Felice Vinatieri, whose name Felix used in various forms throughout his

life.6 From a young age, Felix showed a great passion and aptitude for music and by age ten was

proficient at the violin.7 In 1853, at age nineteen, he graduated from the University of Naples.

Upon completion of his studies, Vinatieri taught at the University of Naples for one year before

serving for six years as a bandleader in the Queens Guard and becoming well known as a

cornetist.

Vinatieri, along with his sister, Lenora, immigrated to the United States in 1859.8 Why

they chose to emigrate is not known. Perhaps it was the political upheaval caused by the second

Italian Independence War of 1859, or perhaps because they, like many other Europeans, saw

opportunity in America. Upon arrival in the United States, Lenora, with a desire to be an opera

singer, decided to remain in New York City, while Felix settled in Lowell, Massachusetts9.

5 Corinne E. Heatherly, “Vinatieri, Felix and Anna (Fejfar),” in History of Yankton County South

Dakota, ed. The Yankton County Historical Society, 694 (Dallas, TX: Curtis Media Corporation,

1987). 6 Felix Samuel Vinatieri, The Thing and I (Rapid City, SD: Distributed by Mrs. Floyd Hansen,

1976), 51. 7 “Died, Obituary of Felix Vinatieri,” Yankton Daily Press and Dakotan 17, no. 190 (April 30,

1873): 1. 8 Heatherly, 694. 9 Vinatieri, 52.

7

When the Civil War broke out in 1861, Vinatieri enlisted on August 4 of that year at

Camp Cameron, near Worcester, Massachusetts, under the name Felix Williet.10 He was

mustered in as Musician 1st Class, with the 16th Regiment Band of the Massachusetts Volunteer

Infantry, in Boston and appointed “Band leader” in September, 1861.11 The 16th Massachusetts

Infantry took part in McClellan’s Peninsular Campaign, and their orders took them as far south

as Williamsburg, Virginia where they remained for one year.12 On August 9, 1862, at Camp

Harrison’s Landing, Vinatieri was discharged for an unknown disability.13

Vinatieri’s second enlistment occurred in December, 1867 as Infantry Musician with the

22nd Infantry at Fort Columbus, New York.14 He was transferred to Fort Sully, Dakota Territory,

and served three years before being discharged on December 16, 1870.15 Upon completion of his

service, Vinatieri boarded a boat south. His intended destination is not known, but he travelled as

far as Yankton, the capital of the Dakota Territory. He settled there, purchased property, and

built a home where he composed, gave music lessons, and led the town band.16 An article in The

Yankton Press, less than a month after his discharge, states, “The citizens of Yankton are hardly

awake to the fact that we actually have a Brass Band among us.” The article further states:

10 “Field and Staff Muster Roll––16th Massachusetts Volunteer Infantry,” August 5, 1861. The

Vinatieri Archive, The National Music Museum. 11 “Field and Staff Muster Roll,” and “Field and Staff Muster Roll for Sept & Oct 1861,” The

Vinatieri Archive, The National Music Museum. 12 Vinatieri, The Thing and I, 51. 13 “Field and Staff Muster Roll for July & Aug 1862,” The Vinatieri Archive, National Music

Museum. The University of South Dakota. The Casualty Sheet states that the nature or origin of

the disability is not stated. “Casualty Sheet,” The Vinatieri Archive, The National Music

Museum. 14 “Declaration of Recruit,” December 26, 1867. The Vinatieri Archive, The National Music

Museum. 15 Heatherly, 694. 16 “There Are Several New Buildings in Course of Erection in Different Portions of Yankton,”

Yankton Daily Press and Dakotan 2, no. 14 (November 8, 1871): 3.

8

A band possessing instruments that cannot be surpassed if equaled [sic] in the Northwest,

and its members making rapid, and rather surprising progress in playing under the

direction of Mr. Felix Vinatiere [sic]…. It is said by persons competent to judge that this

gentleman possess remarkable qualities as an instructor, and the members themselves are

quite enthusiastic over him as a musician and composer.

Our people must not only see to it that he remains here, but must encourage the band

association in its efforts.17

In just under one year Vinatieri had gained the trust of the community and helped to establish a

vibrant and well-respected band in Yankton. The final reference of Vinatieri as the leader of the

Yankton band is a review of a performance from November, 1871.

The band concert given on Friday evening last at Stone’s Hall was a fine affair, and very

well attended. The several pieces were well executed and evoked the favorable comment

of the best musical critics in Yankton. Prof. Vinatieri, the leader of the band, is certainly a

skillful and educated musician, and possesses in a marked degree the qualities which fit

him to be and instructor and leaders. The members of the band recognize his ability in

this respect and are anxious to retain him in this position.… To aid them in this respect,

the recent concert was given, from which about $35 was realized, and it is proposed to

continue these concerts as often as once a fortnight during the winter.18

In Yankton, Vinatieri met and married Anna Frances Fejfar, a native of the town, in

October, 1871; she was seventeen years old and Vinatieri was thirty-seven. The first year of their

marriage was largely spent traveling, to Chicago and then onto Saginaw and Detroit, Michigan,

where Vinatieri played in bands and orchestras for theater engagements. He was also a member

of the Ringling Circus Band.19

The Seventh Cavalry, under the command of General George Armstrong Custer, arrived

in Yankton in April, 1873. While the Seventh Cavalry camped there, the citizens of Yankton

hosted a party to honor the General, his officers, and their wives. Vinatieri led the group of

musicians that provided the evening’s entertainment, and General Custer was impressed with the

17 “Our Band,” Yankton Daily Press and Dakotan 1, no. 23 (January 11, 1871): 3. 18 “The Band Concert,” Yankton Daily Press and Dakotan 2, no. 14 (November 8, 1871): 3. 19 Vinatieri, The Thing and I, 52.

9

quality of the band.20 Custer subsequently asked him to consider joining the Seventh Calvary and

accompanying them to Fort Abraham Lincoln, near present-day Bismark, North Dakota.

After arriving at Fort Abraham Lincoln, Vinatieri soon ventured to St. Paul, Minnesota,

where he re-enlisted on May 23, 1873, as Chief Musician of the Seventh Cavalry.21 Vinatieri was

kept busy with his duties; the band played for dress reviews, concerts, and weekly dances. The

Seventh Cavalry band consisted of sixteen musicians, thirteen of whom were foreign-born, with

most listing “musician” as their prior employment.22 While records of the band list sixteen

members, the photo below (Image, 1), taken of the band in 1874 while at Fort Abraham Lincoln,

shows twenty-eight members and, unlike the standard, brass-only ensemble, includes three

clarinetists.23

20 “Complimentary Reception Ball,” Yankton Daily Press and Dakotan 3, no. 39 (April 30,

1873): 3. 21 “Oath of Enlistment and Allegiance” and “Declaration of Recruit,” both dated May 3, 1873.

The Vinatieri Archive, The National Music Museum. 22 William G. Huey, “Making Music: Brass Bands on the Northern Plains, 1860-1930,” North

Dakota History: Journal of the Northern Plains, 54, no. 1 (Winter 1987): 5. 23 In his account of the 1874 Black Hills Expedition, George Grinnell states that the sixteen-

member band led the procession from Fort Lincoln. See Two Great Scouts and Their Pawnee

Battalion, in George Bird Grinnell, Two Great Scouts And Their Pawnee Battalion : The

Experiences Of Frank J. North And Luther H. North, Pioneers In The Great West, 1856-1882,

And Their Defence Of The Building Of The Union Pacific Railroad (Lincoln, NE: University of

Nebraska Press, 1973), EBSCOhost eBook Collection, 240.

10

Image 1. Seventh Cavalry Band, Fort Abraham Lincoln, Dakota Territory, 1874.

Although mounted cavalry bands were not new, they had however risen to greater

prominence in the Unites States during the Civil War.24 These mounted cavalry bands generally

comprised sixteen members and served a number of purposes. Traditionally, military bands

provided music for formal military ceremonies, parades, formal and social concerts, and

dances.25 Custer, however, creatively used these musicians and called upon the cavalry bands

serving under him during the Civil War to lead his troops into battle on several occasions.26 The

Seventh Cavalry band saw active duty under General Custer on at least three tours: the 1873

expedition to Yellowstone, the Black Hills in 1874, and finally on the Sioux Campaign, in 1876.

24 Mounted cavalry bands were ensembles that were that were often attached to cavalry

regiments. Much like their soldiering counterparts they were able to perform their needed duties

while mounted on horseback. By the 1860s within the United States these ensembles typically

consisted of sixteen members who primarily played brass instruments. 25 Bruce Gleason, “The Mounted Band and Field Musicians of the U.S. 7th Cavalry During the

Time of the Plains Indian Wars,” Historic Brass Society Journal 21 (2009): 71-77. 26 Ibid, 77. Custer twice utilized bands under his command during the Civil War directly on the

front lines first on October 9, 1862 near James City, Virginia, and a second time where the band

led the cavalry charge at Columbia Furnace, Virginia on April 16, 1862.

Felix Vinatieri is probably the cornetist seated in the center of the first row.

Courtesy of the Dakota Territorial Museum, Yankton, South Dakota.

11

As the Seventh Cavalry departed toward the Black Hills, in 1874, the band led them from

Fort Lincoln. The journey took them through supposedly hostile territory in the very heart of the

Black Hills, a location sacred to Native American tribes. George Grinnell, the biologist for the

expedition, described the departure from the fort: “At Fort Lincoln the expedition was detained

about thirty days…. As it left the fort a band of sixteen men mounted on white horses preceded

it, playing “Garry Owen,” Custer’s favorite air.”27 Behind the sixteen horses of the band, over

one thousand men followed, comprising ten companies of the Seventh Cavalry, two infantry

companies, one hundred and ten wagons, three Gatling guns, scouts, interpreters, professional

miners, and a number of journalists.28 Grinnell remarked on what must have been on the minds

of many that day: “To start into a supposedly hostile Indian country accompanied by a brass

band was a novel experience to some of those who rode with this expedition.”29

Recalling the expedition to the Black Hills, Sergeant Charles Windolph wrote:

It was fun in the long evenings, when we’d taken care of our horses, and the guards were

posted, and everything was in shipshape…. We’d make great campfires and almost every

evening there would be a band concert. General Custer was mighty proud of our Seventh

Regiment band. They were mounted on white horses and he had them along on all his

expeditions and campaigns…. We had a mighty fine band, and on the nights when the

moon was out and the stars cracking in the sky, and the air was crisp and cool, it was

something to stretch out before a big open log fire and listen to music. Soldiering wasn’t

half bad those times.30

27 Grinnell, 240. 28 This list of the expeditionary force is compiled from Bruce Gleason, “The Mounted Band and

Field Musicians of the U.S. 7th Cavalry During the Time of the Plains Indian Wars,” Historic

Brass Society Journal 21 (2009): 82; James Calhoun, With Custer in 74: James Calhoun Diary

of the Black Hills Expedition, ed. Lawrence Frost (Provo, UT: Brigham Young University Press,

1979), 16; Duane P. Schultz, Custer: Lessons in Leadership, The Great Generals Series (New

York: Palgrave Macmillan, 2010), 159-60. 29 Grinnell, 240. 30 Charles Windolph, I Fought with Custer; the Story of Sergeant Windolph, Last Survivor of the

Battle of the Little Big Horn, as Told to Frazier and Robert Hunt, with Explanatory Material and

Contemporary Sidelights On the Custer Fight (New York: Scribner, 1947), 38.

12

The journalists who traveled to the Black Hills offer a glimpse into the use of bands during the

expedition. As the division passed a location identified as Floral Valley, a name which Custer

had given, the writer for the New York Tribune described the following event:

As we ascended the valley, our band which favors us every morning with a variety of

selections played “How so fair” and “The Mocking Bird.” We forgot the mocking bird in

listening to the mocking hills which played an echo fuge [sic] with the band. The effect

was beautiful indeed. Never before had the echoes sung to Hoffman and Flotow, but they

never missed a note in their response.31

In 1876, as tensions with the Native Americans mounted, Custer and the Seventh

Cavalry readied themselves for their campaign into the Montana Territory. On May 17, after

several days of rain, the Seventh Cavalry finally departed from Fort Abraham Lincoln. In an

attempt to disperse the fear and anxiety of a possible engagement with the Indians, which seemed

imminent, Custer ordered the band to strike up the regimental favorite, “Garry Owen.”32 The

band, however, did not accompany the Seventh Cavalry to the Little Bighorn. Sergeant Charles

Windolph, who fought with Captain Frederick Benteen’s Battalion at the Little Bighorn,

recalled:

I remember one thing that happened as we were leaving the Tongue [River]. Our Seventh

Cavalry band was mounted on white horses, and as we were short of good mounts the

bandsmen were left behind, while the horses were taken over as remounts to replace

horses that had been worn down. While the column was pulling out, the dismounted band

stood on a little knoll near the big river and played “Garry Owen” as the regiment rode

by. It was something you’d never forget.33

31 Herbert Krause and Gary D. Olson, Prelude to Glory: A Newspaper Accounting of Custer’s

1874 Expedition to the Black Hills (Sioux Falls, SD: Brevet Press, 1974) 210. Quoted in Bruce

Gleason, “The Mounted Band and Field Musicians of the U.S. 7th Cavalry During the Time of

the Plains Indian Wars, 83. 32 Nathaniel Philbrick, The Last Stand, Custer, Sitting Bull, and the Battle of the Little Bighorn

(New York: Penguin, 2010), 18-19. 33 Windolph, 66.

13

During the Civil War, and early encounters with Native Americans, Custer had taken his band

into battle. This time, however, the band was instructed to remain stationed on the supply boat,

The Far West. After the Battle of the Little Big Horn, Vinatieri’s men cared for the wounded

from General Terry’s command as they were transported back to the fort. During his service at

Fort Abraham Lincoln, Vinatieri composed a number of pieces, among them the march entitled

“General Custer’s Land Indian Campaign.”34 Vinatieri was discharged December 16, 1876, at

Fort Lincoln, Dakota Territory, as Chief Musician.35

Upon his discharge from the army, Vinatieri relocated his family back to Yankton. He

resumed his professional civilian career, taught lessons, composed, and traveled extensively to

support his large family, which at this time comprised three daughters and five sons. Little is

known about this period, other than that Vinatieri was contracted by the Military Band at the

North, Central, and South American Exposition in New Orleans to play either third or fourth

French horn, on September 19, 1885.36 In 1888, Vinatieri traveled as far south as Galveston and

Corpus Christi, Texas. At this time he composed “A Summer in Texas,” on which score he noted

that he played for a “10-cent burlesque” in Corpus Christi.37 Furthermore, “the Ringling

Brothers’ United Monster Railroad Shows 1890 Season Route Book” lists Vinatieri as Felix

Venitier, a member of the ensemble playing solo alto.38

34 Huey, 5. 35 Vinatieri, 54. 36 “North, Central, and South American Exposition Contract,” The Felix Vinatieri Archive,

National Music Museum, The University of South Dakota, Vermillion. 37 Vinatieri, The Thing and I, 54. 38 “Ringling Brothers United Monster Railroad Shows Menagerie and Museum Route book,

Season of 1890,” National Music Museum, The University of South Dakota, Vermillion.

14

Although Vinatieri is best remembered as a director, conductor, and composer of band

music, his obituary revealed that it had long been his desire to compose opera.39 During this

period in Yankton, Vinatieri composed three comic operas. Dating from 1877 to 1891, these

compositions are not the earliest surviving operas composed in the United States; however, they

are, no doubt, among the earliest operas composed west of the Mississippi. The composer's

favorite, The American Volunteer, was to have realized Vinatieri’s desire for recognition as an

opera composer. A June, 1891 article, published in the Daily Press and Dakotan, stated that

Vinatieri’s professional colleagues and peers found that “with this opera he has produced

something that will take popular fancy by storm and rank first among the comic operas of its

day.”40 The American Volunteer was to have been presented at the Columbian World's Fair in

Chicago, in 1893, but plans were abandoned after Vinatieri’s death from pneumonia on

December 5, 1891.

Vinatieri was well known among band and orchestral directors, and musicians around the

United States. In addition, he was held in high regard as a composer, performer, and

bandmaster.41 Although his dream of producing his operatic works was never realized, his

contribution to Yankton’s musical and cultural life during his lifetime is a testament to the

quality of his music and his work is deserving of a wider audience. (See Appendix A for a

complete copy of his obituary.)

39 “Died, Obituary of Felix Vinatieri.” Yankton Daily Press and Dakotan 17, no. 190 (April 30,

1873): 1. 40 “A Work in Music,” Yankton Daily Press and Dakotan 17, no. 52 (June 25, 1891): 3. 41 “Died, Obituary of Felix Vinatieri.” Yankton Daily Press and Dakotan 17, no. 190 (April 30,

1873): 1.

15

CHAPTER 3

THE DEVELOPMENT OF OPERA IN AMERICA

Charting the development of stage music––let alone opera––in the United States is a

difficult undertaking because of the tangled mess of styles and genres that comprise the body of

early American stage music. The terminology and titles for various styles and genres were often

unclear, making difficult the labeling of opera versus operetta, or early forms of musical theater.

The emergence of new uses for music in stage productions often led to the development of new

forms and genres. The pace with which these forms and genres rose to popularity, and their

subsequent disappearance, further complicates the process of clearly defining styles in this early

period. Often various elements from previous styles merged and combined with others, forming

rich developments in American stage music. By the 1790s, half of all stage productions within

the newly formed Unites States were musical in nature.42

Realizing the rapid changes with the styles of the period, this chapter will briefly consider

the development of opera within the United States from the late 1700s through the late 1800s.

Several paths developed during this time largely from a common starting point, English theater.

The first of these two paths to be considered is foreign-language opera which was largely

promoted by touring companies, one of the best-known being the Garcia’s troupe which will be

discussed in more detail later in this chapter. The second path consists of works composed and

42 Julian Mates, The American Musical Stage Before 1800 (New Brunswick, NJ: Rutgers

University Press, 1962), 136.

16

performed in English which sought to appeal to a wider audience. This second path led to a

variety of styles and genres that developed throughout the eighteenth and nineteenth centuries.

This chapter will specifically look at characteristics and selected works from the pantomime,

melodrama, extravaganza, and spectacle repertoire. Drawing from these various styles, in

addition to operetta and European operatic traditions, Felix Vinatieri composed The American

Volunteer in 1891. He referred to this work as a “Farce Comedy in Burlask [sic] Opera.”43 The

characteristics of American burlesque will be studied in greater detail through an examination of

the works of John Brougham (1814–1880), and Edward Rice. A detailed discussion in Chapter 5

reveals how Vinatieri’s work fits within the American burlesque tradition. Rather than presenting

an exhaustive history of all American musical theater and opera traditions, the discussion of the

development of opera within the United States will be limited to the genres directly related to

Vinatieri’s operatic compositions.

From the 1730s until the American Revolution, a virtual explosion of theater

performances occurred in the urban areas of the American Colonies. Like most activity in the

colonies, music and theater were also heavily influenced by offerings from the British Isles.

Theater companies were largely itinerant and performed on various regional circuits that

included larger urban centers and smaller rural communities. In colonial times, the earliest

performance of an operatic nature was Colley Cibber’s ballad opera, Flora, or Hob in the Well

(1735). However, it was John Gay’s The Beggar’s Opera, with its New York premiere in 1750,

that popularized the ballad opera within New York. Ballad opera remained widely popular and

was continually staged throughout colonial America through the end of the eighteenth century,

43 The cover of the scores can be seen in Appendices D.

17

largely because its interpolation of popular tunes and melodies––with altered texts that often set

bawdy subject matter––appealed to the working classes.44

The decade and a half leading up to the American Revolution showed the growth and

maturing of operatic productions and tastes in America. Philadelphia was the largest city in the

colonies and was the cultural center as well. The January 22, 1767 Pennsylvania Gazette review

of the Philadelphia production of Thomas Arne’s Love in a Village provided the first critical

review of opera within the colonies.45 Following this premiere, new works quickly made their

way across the Atlantic for performances in America. Charles Dibdin’s Lionel and Clarissa, for

example, premiered in London in 1768 and received its premiere in America in 1772. As opera

became more popular in the United States the time between an initial European opening and its

American premiere grew shorter as well. Dibdin’s popular opera, The Padlock, opened in

London in October, 1768, and seven months later––May, 1769––in New York. Regarding these

English operatic performances at the close of the eighteenth century mates states”

Musicals had been heard in every large city in the United States, and even in such smaller

communities as Savannah and Augusta in Georgia, Columbia in South Carolina,

Richmond, Fredericksburg, Norfolk, Petersburg and Alexandria in Virginia, Newark in

New Jersey, Harrisburg and York in Pennsylvania, and even such “insignificant …

villages” as Lansingburgh and Dumfries.46

American stage music continued to be largely influenced by the British until well after

the guns of the Revolutionary War had fallen silent. In the early part of the nineteenth century,

two different paths began to emerge in the development of opera in America. First, though not

44 Mates, 140-142. 45 John Dizikes, Opera in America: A Cultural History (New Haven, CT: Yale University Press,

1993), 20. 46 Mates, 139. Musicals here refer to staged works with musical accompaniment not to those

associated with American musical theater.

18

chronologically, was the rise of foreign-language opera, a period featuring traveling opera

troupes with vocal stars that ushered in one of the costliest forms of entertainment to reach

America. In November 29, 1825, Rossini’s Il Barbiere di Siviglia received its first fully-staged

production in America. It was directed by Manuel Garcia, who had premiered the role of Count

Almaviva at the Rome premiere, and performed by his company, which had accompanied him

from London.47

The arrival of Manuel Garcia’s opera troupe, and their performances of Italian opera,

ushered in a new period of opera in America. The Garcia productions included the expected

elaborate sets and costumes, and a carefully selected orchestra, substantially larger than that used

for most English operas. Thus the culture of elitism began to appear within the tradition of

foreign-language opera in the United States. Encouraged by New York newspapers, audiences

were instructed on what was considered appropriate dress and behavior for opera attendance. The

staging of the operas at The Park, New York’s most prestigious theater, and encouragement by

the papers, coupled with the musical magic of Rossini, only added to the mystery and exclusive

nature of the performances.48 Following the opening of Il Barbiere di Siviglia, Garcia presented a

full season of Italian opera, including La Cenerentola and Don Giovanni.49 Although these

operas were initially popular, attendance began to wane and Garcia––and most of his company––

47 Katherine K. Preston, Opera On the Road: Traveling Opera Troupes in the United States,

1825-60, Music in American Life (Urbana: University of Illinois Press, 2001), 102. 48 June C. Ottenberg, “New York and Philadelphia, 1825-1840: European Opera American

Style,” in Opera and the Golden West, ed. John L. DiGaetani and Josef P. Sirefman (Cranbury,

NJ: Associated University Presses, 1994), 52. 49 Of note, regarding these productions of Don Giovanni, was the involvement of Lorenzo da

Ponte, the librettist of Don Giovanni, and was now working as an Italian teacher in New York.

After Garcia’s departure, Da Ponte tried two more times to produce Italian opera in the United

States, but both times were marred by financial troubles.

19

left for Mexico. Left behind was the star of their company, Garcia’s nineteen-year-old daughter,

Maria, whose popularity was one of the main sources of the company’s success.

The second path opera followed in the United States was more popular in its appeal and

influences than foreign-language opera, and built upon the foundation of the overwhelming

influence of English opera in its varied forms. Between 1810 and 1835 the 2000-seat Chestnut

Street Theater in Philadelphia performed fifty-five operas, many of them the most popular

English operas of the day.50 The ongoing popularity of works, such as The Beggar’s Opera and

Michael Balfe’s (1808-1870) The Bohemian Girl, illustrate the desire for music that appealed to

a wider population than foreign-language operas did. The second stream in the development of

American Opera saw several forms combined to eventually produce what would be known as the

“burlesque extravaganza.” Before exploring the burlesque, however, several of its predecessors

must be considered to understand how this style arose; the “pantomime” and “melodrama” both

significantly influenced its development.

Pantomime largely drew its subject matter from nursery rhymes, some sort of fairytale,

or other freely available sources. The plot mattered little and was primarily used as a vessel to

show off the talents and abilities of the performers.51 Pantomime often sought to combine mime,

physical prowess (such as tightrope and balancing), and dance––with visual narrative and

musical accompaniment––to tell a story.52 The diverse influences from England, France, and

Italy are seen in the combination of physical and musical characteristics together with the

50 Dizikes, 46-47. The better known English Operas were Thomas Arne’s Artaxerses and Love in

a Village, Charles Dibden’s Lionel and Clarissa, and Stephen Storace’s The Haunted Tower. 51 Cecil A. Smith and Glenn Litton, Musical Comedy in America. 4th ed. (New York: Routledge,

1996), 3-6. 52 Katherine Preston, “American musical theatre before the twentieth century,” in The

Cambridge Companion to the Musical, ed. William A. Everett and Paul R. Laird (Cambridge:

Cambridge University Press, 2002), 14.

20

foundation of the stock characters and humor from the commedia dell’arte tradition.53 One of the

long-lasting influences of pantomime, to impress the audience, was the use of spectacular stage

machinery and effects.54

Rising to prominence in the 1790s, the melodrama remained arguably one of the most

important and popular genres of performance in the 19th century. Like pantomime, melodrama

was popularized by the English. Like the pantomime, melodrama in the United States also had

strong influences from the French tradition, which valued serious over humorous topics.

Melodrama also led to a limited use of satire, and the development of music that ran

continuously through the performance.55 Additionally, this tradition borrowed the gestures and

grace of ballet d’action, and expressive acting techniques from the French. 56

William Dunlap (1766–1839) and Victor Pelissier’s (ca. 1740–ca. 1820) The Voice of

Nature (1803) is the earliest extant example of an American melodrama production, and contains

stage instructions for inserting the composed pieces (marches, a dance, choruses) for

melodramatic performances. These pieces served to advance the plot, and by the 1850s the free

use of a pattern of alternation between speech and music had developed into a more intentional

use of the music. The music now served to highlight, or further clarify, the emotion of a play

when the spoken dialogue was not sufficient to make the plot seem real. These uses are

53 Smith, 4. 54 The best known performers in this style were the French Ravel Brothers. This traveling

company specialized in a variety of repertoire: ballet, acrobatics, and pantomime. Katherine

Preston, “American musical theatre before the twentieth century,” in The Cambridge Companion

to the Musical, 1st ed. William A. Everett and Paul R. Laird (Cambridge: Cambridge University

Press, 2002), 14. 55 Kirk, 60. 56 Kirk, 58.

21

illustrated by the short motivic bursts, or “hurry music,” often used under the dialogue to move

the plot along.57

The 1850s saw the arrival of a new genre referred to as “spectacle” or “extravaganza.”

The extravaganza was an “elaborate and frequently topical spectacle,” often combined with other

styles that lived into the twentieth century.58 Scholar George B. Oliver in his dissertation,

Changing Pattern of Spectacle on the New York Stage, argued that”

Spectacle may be defined as a legitimate stage form which appeals primarily to the

aesthetic sense through the media of scene painting and constructions, costume, dance,

music properties, lighting, sound effects, and mass grouping. Actor and script are

relegated to a subordinate role; director and technical artists predominate.59

Spectacles and extravaganzas included melodrama, dance, intricate scenery and costumes, and

utilized sophisticated stage machinery allowing for elaborate scene changes. The plot material

often consisted of satirical settings of familiar musical and literary sources. This kind of writing

known as a “burlesque,” amounted to a particular treatment of the original source. Over time

however, burlesque began to take on the meaning more closely associated with it today.

By the 1850s burlesque had begun to employ a significant amount of music. According to

Preston, “By the mid-nineteenth century, the form had adopted some of the characteristics of

extravaganza––in particular, whimsical humor presented in pun-filled verses full of double-and-

triple-entendres and oblique humorous word-play.”60 Initially dramatic productions of satirical

and humorous nature, these settings developed in the following ways, according to Allen:

57 Preston, The Cambridge Companion to the Musical, 12. This interpolated music could be

compared to the impact of a musical score on a movie. While the audience is viscerally aware of

it, and that it even aids in the emotional forward momentum of the film, they may not be fully

aware of the music. 58 Smith, 5. 59 George B. Oliver, “Changing Pattern of Spectacle on the New York Stage (1850-1890)” (PhD

diss., Pennsylvania State University Oliver, 1956) iv-v. Quoted in Root, 65. 60 Preston, The Cambridge Companion to the Musical, 15.

22

At the mid-century, the term “burlesque”––as used in the American context––covered a

number of forms of comic entertainment. The travesty aimed at a specific work of high

culture, removing its characters from their lofty positions as princes and peers and

resituating them in considerably more prosaic settings. Romeo and Juliet were

transplanted from Verona to Hoboken, for example.61

Only after the turn of the century did burlesque begin to develop into the variety show with

striptease. Until this point the characteristics of American burlesque centered around the ability

to humorously and satirically treat any subject, such as race, religion, social status, and even the

popular music and performers of the day. The burlesque of Italian operas, such as Mrs. Mormer

(Norma), The Roof Scrambler (La sonnambula), and Kill Trovatore! (Il Trovatore) illustrate a

few that used existing material as their source.62

In 1842, John Brougham, an actor, playwright, and composer of burlesques for his own

theater in London, came to the United States, and, in 1855, premiered his best known work,

Po-ca-hon-tas, a burlesque of Indian plays then popular. One of the lasting impacts of

Brougham’s plays on American burlesque is his expanded use of music, comprising nearly a

third of the production. Brougham’s Po-ca-hon-tas remained popular in the United States for

several decades after its premiere, in part because of its clever combination of burlesque and

music.63 Keeping the characteristic style of burlesque, Brougham relied heavily on double

entendres, as illustrated even in the cast of characters; “Powhatan is a musical “crotchety

monarch, in fact a semi-brave,” and others of this tribe of “salvages” include Kros-as-kan-bee,

Oso-char-ming, Lum-Pa-Shuga, Kal-o-mel, and Kod-liv-Royl (the latter two are the medicine men).”64

61 Robert C. Allen, Horrible Prettiness: Burlesque and American Culture (Chapel Hill, NC: The

University of North Caroling Press, 1991), 101. 62 Kirk, 89-90. I was unable to locate the identities of the composers who wrote the cleverly-

titled burlesques. 63 Deane L. Root, American Popular Stage Music, 1860–1880, Studies in Musicology 44 (Ann

Arbor, MI: UMI Research Press, 1981), 75. 64 Root, 76.

23

During the Civil War, Brougham returned to London, but at the end of the war moved

back to New York. He discovered more revealing of the “female form” was now demanded from

actresses in the productions being staged.65 In the 1850s, producers had begun to combine the

comic elements and subversive nature of burlesque with the spectacle and extravaganza.66 In this

post-war time, burlesque became divided into two forms. Championed by Brougham, the first

represented a continuation of earlier burlesque style, in part socially critical, but largely avoiding

the use of stage machinery and the exploitation of female performers. The later form, although

retaining its frequent use of parody, instead emphasized the use of stage extravaganza and more

provocatively costumed female performers.67

The 1866 premiere of The Black Crook (1866) epitomized the burlesque extravaganza.

The Black Crook is often cited as the precursor of the modern, twentieth-century musical.68

Regarding the first performance of The Black Crook, Smith states, “In these five and a half

historic hours, they saw the most expert and the best routine dancing…. They marveled at stage

spectacles more elaborate and magnificent than any American producer had ever before

devised.”69 Additionally, the production featured over 100 female dancers whose costumes

revealed a great deal of the performers’ legs. The second act alone possessed a dance number

that required the dancers to come toward the front of the stage wearing tights with no skirt to

cover their legs. The clear viewing of a woman’s legs, even covered with tights, was a notion

that truly shocked at the time. The Black Crook’s popularity sparked a number of other

65 While the performers were not nude in these productions the exposing of flesh and the usage

of tights on exposed legs on stage at a time when hoop skirts and high collared tops was the

fashion was very provocative and risqué. 66 Allen, 105. 67 Allen, 107. 68 Everett, 19. 69 Smith, 7.

24

productions, including its unsuccessful sequel, The White Fawn.

From the 1860s onward, as Preston suggests, “burlesques often functioned as the

framework for elaborate spectacles and extravaganzas.”70 On September 21, 1868, at Wood’s

museum in New York, Lydia Thompson and her company, popularly referred to as the “British

Blondes,” made their American debut with Ixion, or The Man at the Wheel. Their explosive

popularity had little to do with their acting and singing; rather, their use of topical references to

popular culture of the day held the greatest appeal. They owed their success largely to the

extensive display of “the female form.” Thompson and her British Blondes arrived from London,

making their New York premiere. Prior to Thompson’s arrival, burlesque had been part of the

standard repertory used in mixed bill performances, and largely consisted of a burlesque (or

tragedy) of current plays, events, literature, or fashions.71 Thompson’s shows, however, were

British burlesques: “Most of them were full length, providing songs, dances specialty numbers,

laughs, and legs, all grafted onto a silly burlesque (i.e. parody) of an existing story or play. The

dialogue was in rhyming couplets and filled with bad puns.72” Additionally, in a time when

layered skirts, corsets, and high-necked fronts were standard, any visible female flesh was seen

as drama.73 In Thompson’s burlesques, the drama centered on Thompson and her “British

Blondes,” who played male roles. Cross-gender roles were nothing new, but by dressing in

men’s costumes women were able to accentuate their figures by showing off their legs.

70 Everett, 16. This is perhaps also why Felix Vinatieri referred to The American Volunteer as a

comic burlesque. The idea of a grand spectacle that encompassed such variety and embraced a

crazy and rather nonsensical plot helps to identify this label. 71 Smith, 16-17. 72 Sheldon Patinkin, No Legs, No Jokes, No Chance: A History of American Musical Theater

(Evanston, IL: Northwestern University Press, 2008), 42. 73 John Ogasapian and N Lee Orr, Music of the Gilded Age, American History through Music

(Westport, Conn.: Greenwood Press, 2007), 102.

25

Edward Rice’s (1847–1924) Evangeline; or the Belle of Acadie (1874), based on

Longfellow’s poem, also exemplified this combination of various elements under the burlesque

genre. Evangeline combined elements from many of the popular styles, both current and existing.

Elaborate costumes, sets and stage machinery (specifically a balloon ascent, a spouting whale,

and a dancing cow) contributed to the spectacle. Additionally, the witty plot contained puns and

references to popular culture which were characteristic of this kind of burlesque. From comic

opera, Evangeline borrowed spoken dialogue as well as a musical score with songs, dances, and

a chorus. Incidental music at several moments in the opera provided opportunities for pantomime

and melodrama.74 Additionally, Rice used stock characters from commedia dell'arte. From

operetta, Evangeline borrowed a humorous romantic plot, spoken dialogue, and original music

with vocal solos, ensemble pieces, and a few purely instrumental compositions.75

Evangeline was not referred to as a burlesque, even though it may be accurately classified

as one with its satirical use of a familiar story and the lead female wearing tights. Rice sought to

refrain from the overuse of scantily-clad women and sexual innuendo in his work. A report of an

interview from 1879 clearly illustrates this:

Evangeline resulted from witnessing an unsatisfactory performance by the old Lydia

Thompson troupe…. Rice suggested to his subsequent librettist, J. Cheever Goodwin,

that they should concoct a burlesque diversion to which an entire family might be taken,

in lieu of the imported entertainment at which only the black sheep from every fold were

expected. Mr. Rice has labored zealously to weed the garden of burletta and extravaganza

of vulgarity and every objectionable feature.76

The collaboration was a success; in its planned, initial two-week run, Evangeline became an

immediate hit. After this run, Rice and Goodwin were able to secure more financial backing, and

74 Everett, 20. 75 Root, 148. 76 Interview, New York Mirror (20 March 1880), 64 (reprinted from 21 June 1879). Quoted in

Root, American Popular Stage Music, 151.

26

Evangeline remained popular for the next thirty years.77 Opening ten years after Evangeline,

Rice’s Adonis began its run with 603 performances. With this piece Rice first used burlesque

formally in the title, referring to the piece as a “burlesque-extravaganza.” In Adonis, Rice

abandoned one of the key characteristics of burlesque, a female lead in tights, and instead made

the lead a handsome man. He retained other female characters in tights, a libretto with clever

puns, and a vaguely familiar plot, therefore giving support to the work’s designation as a

burlesque.

Subsequently, however, Rice’s moderately successful production, 1492 Up to Date or

Very Near It, drew many of the styles together. In the program notes he stated:

With the consent of the author and composer, I have introduced some popular music of

the day, a morceau by Rubenstein, three numbers by Mr. Perlet, and a few of my own,

also a Grand Finale to the second act, “Our National Song,” written expressly for me by

Adam Itzel, Jr. of Baltimore. I make the explanation in order that Mr. Pfleuger may not

be accused of plagiarism.78

Rice wrote 1492 Up to Date as a celebration of the quadricentennial of Columbus’s

discovery of America, although it was presented in 1893, a year later. Regardless, the work was

able to “capitalize upon the nationwide interest in the World’s Columbian Exposition at

Chicago.”79 Smith refers to 1492 Up to Date as a “‘musical, historical, mellow drama’ that threw

together bits of opéra-comique, comic opera, stereopticon projections, extravaganza, farce-

comedy, vaudeville, local comedy, burlesque, and even minstrelsy.”80

The characteristic most consistent within of the development of opera, particularly within

its popular music settings, within the United States during this period was its continued

77 Smith, 20. 78 “1492 up to Date or Very Near It,” Internet Broadway Database, accessed January 10,

2015,http://ibdb.com/production.php?id=496158. 79 Smith, 26. 80 Smith, 26.

27

development and change. This constant evolution accounted for American opera’s continued

success in drawing audiences. The genre’s ability to provide unexpected and novel experience

wowed the public; “it presented a world without limits, a world turned upside down and inside

out in which nothing was above being brought down to earth. In that world, things that should be

kept separate were united in grotesque hybrids. Meaning refused to stay put. Anything might

happen.”81

81 Allen, 29.

28

CHAPTER 4

VINATIERI’S STAGE WORKS

The Vinatieri Archive housed at the National Music Museum contains 133 original

manuscripts.82 This document focuses on one of his three remaining operatic compositions.

Vinatieri’s career was focused largely on music for wind ensembles, whether playing in the

Queen's Guard of Spagnis, a Union band during the Civil War, as part of a circus band, or

leading the community band in Yankton. His obituary, however, stated that in his later years, “he

had made venturesome attempts at opera, which was the long term goal of his ambition, and such

attempts have proved expensive.”83

Vinatieri composed three stage works: Heart & Love or The Enchanted American Chair

(date unknown), The Barber of the Regiment (1872), and The American Volunteer (1889). He

referred to Heart and Love as “In Four Act [sic] Grand Borlosque [sic] Comedy,” while he titled

The Barber of the Reggement as an “American Burlask Opera in 4 Acts,” and, finally, The

American Volunteer as a “Farce Comedy in Burlask Opera.”84 Each of the works consists of arias

(some with short recitatives), choruses, ensemble numbers, and spoken dialogue. No

performance of the earlier works has yet been undertaken; however, The American Volunteer

was staged in 1961 by Yankton College.

82 Many of these are instrumental works comprised of marches, polkas, schottisches, waltzes,

galops, mazurkas, quadrilles, and overtures. 83 “Died, Obituary of Felix Vinatieri,” Yankton Daily Press and Dakotan 17, no. 190 (April 30,

1873): 1. 84 The covers of the scores can be seen in Appendices B, C, and D.

29

The Vinatieri Archive also contains Vinatieri’s Management Book for The American

Volunteer. This leather-bound book in the composer’s hand contains a personnel list, the libretto

and dialogue, scenic and costume instructions, and notes on his intended staging.

It is not known why Vinatieri chose to write the libretto for The American Volunteer

himself; the relative seclusion of Yankton in the late 1800’s may not have presented him with a

suitable writing partner. Judging by the level of detail presented in the Management Book,

however, we might speculate if such a partnership would even have been possible. Vinatieri’s

decision to write the dialogue and text, however, proved problematic in other ways. His grasp of

the English language at times is awkward, and as such led to a lack of clarity in the work. His

syllabification of the text within the music is unidiomatic at times, setting the word “battle” over

three syllables and “I’ve” over two. Additionally, the Act I duet, “Oh Dear my Sweet Love”

illustrates how the language hinders the clarity of his intended meaning. While the title alone

possesses problems, it is in the latter part of the scene, where the lovers Tom and Minnie declare

they will “pray to you” instead of “for you,” that the meaning becomes unclear. The 1961

production of The American Volunteer used a score with corrected dialogue and text.85

On the first page of the Management Book Vinatieri descibes The American Volunteer as,

“a Grand and wonderful and surprising farce comedy in four acts, in a Burlesque, Opera Style.”

He goes on to say, “There is no equal plot in the globe now to compete with this one for

85 Prior to being housed at the National Music Museum, J. Laiten Weed of the Yankton College

Music Conservatory had possession of the manuscripts. For their production Mr. Weed

completed the updates, and some of his cuts are visible on the manuscript copies. Additionally,

Mr. Weed sought to have The American Volunteer published as attested by personal letters to

Hansen Publications and Galaxy Music Corporation housed at the National Music Museum.

30

originality.”86 This bold statement is not far from the truth in Vinatieri’s claim for the uniqueness

of the plot. As discussed earlier in the development of the burlesque (Chapter 3), the productions

from the mid-1850s onward drew from a variety of styles and genres. Vinatieri draws from the

burleque tradition in his treatment of the Faust-like plot, from operetta in the use of spoken

dialogue throughout, and from the extravaganza and spectacle in his use of elaborate stage

machinery. These, combined with the lack of overt sensuality, more closely relate The American

Volunteer to Brougham and Rices’s burlesques than to Lydai Thompson’s work in this genre.

Like most stage works, The American Volunteer has multiple layers and meanings, which the

following synopsis reveals.

The American Volunteer begins with an announcement that war (the American

Revolution) is coming. The scene is set near Bladesburg, Virginia, where Lord Leighton offers

Rosa, a woman of Mexican descent, £5,000 for the hand of her daughter Minnie. Rosa, not

satisfied with the amount, manages to convince him instead to sign over his whole estate in his

will. Minnie and her lover Tom Franklin overhear the plan and plot their elopement. Before they

are able to carry out their plan, however, Leighton, disguised as General Washington, tricks Tom

into joining the army.

Act II begins at the conclusion of the war and Tom, now a colonel has just released his

troops to return home. Just at this time Rosa notices Tom as a dashing young officer and begins

to flirt with him. She is unaware that the focus of her attention is Tom Franklin, her daughter’s

lover. When Tom finally reveals himself to her she flies into a rage and vows revenge. She later

returns with townspeople she has hired to help and accuses Tom of attacking her.

86 Management Book, Vinatieri Archive, National Music Museum, University of South Dakota,

Vermillion. Vinatieri’s quote places the comma between “globe” and “now”. The author chose to

remove this for clarity.

31

The curtain raises on Act III with Tom condemned to hanging for crimes he has not

committed. While imprisoned, Tom cries out that he would do anything to escape. Hearing this,

the Devil appears and he makes a Faustian-like pact with the Devil who gives him a magic “all

powerful” chair that binds anyone who sits in it until released by the chair’s owner. In plotting

their conspiracy, Pilton, Voblas, and Matchet (they are the old judge, Rosa’s older brother, and

farmer who works for Pilton respectively) reveal that they are hiding Minnie, but she has

escaped. Tom, in disguise, hears them and agrees to help Voblas find her. Tom sets out to locate

Minnie, and finds her momentarily reuniting the young lovers. Their reunion is short-lived as

they are ripped from each other by a tornado.

The final act begins with Tom in Hell. He, along with others, has arrived there after the

cyclone, but he tricks the Devil into sitting in the chair. The Devil, realizing his error, begs to be

released, but Tom demands him to first release the captives from Hell. The Devil agrees, but asks

where they should be released to. Tom now notices the date on a newspaper, and realizes they

have been captive for over a hundred years. He says he will release the Devil from the chair if he

in turn sets the captives free to attend the World’s Fair in Chicago. The Devil suggests that since

he is known in all the nations that they may as well invite them too. Thus the opera ends with the

protagonists arriving at the World’s Fair with dignitaries from around the world. Vinatieri

concludes the opera with an optimistic chorus number that declares “Love, money, and wine

make the world shine.”

To focus solely on the farcical plot and how it burlesques the operatic conventions of

nineteenth-century Grand Opera is the obvious starting point, but the complex nature of these

relationships could seemingly overshadow some of the other aspects of the work. In developing

his leading character, Vinatieri infused portions of the Faust story with almost Messianic

32

qualities. After being unjustly accused of a crime, Tom makes a comical deal with the Devil

where he initially exchanges his soul for a “grand power” in exchange for ten years of freedom.

Tom leaves with the all-powerful chair and, upon his return to Hell ten years later, breaks his

bonds in a Messianic moment, and then convinces the Devil to release from Hell all who were

killed by the tornado.

The dialogue in Act IV between Tom and the Devil contains a unique view of Tom’s role

as the Messiah. He says, “Oh no, in the era of civilization the people have their eye open, and in

a short time, they will fight all your ‘bosses,’ and you will perish with them.”87 He claims that

his work is to make the Devil “destroy this ‘inferno’ at once, and let there be a free heaven for

all.”88 This is Tom’s personal statement of belief and stands out within his dialogue with the

Devil. The latter pleads with Tom not to force him to destroy Hell, imploring him to “be a good

Christian.”89 Tom responds, “No! No! No! I cannot be a Christian at all… I am an upright

infidel, and we want you to abolish all the superstitions of the believers in Hell and not keep the

people any longer in ignorance.”90

The plot also reveals the social and racial context of Vinatieri’s historical moment. In The

American Vinatieri explores race relations, specifically interracial marriages. The explosive

growth in the immigrant population throughout the mid-to-late 1800s continually brought

various races and ethnicities together. Although set near the American Revolution, Vinatieri

highlighted the mixing of races with an unexpected marriage between Rosa and the white

colonial Judge Pilton. To our contemporary understanding this relationship is nothing shocking,

87 Management Book, 99. 88 Ibid., 99. 89 Ibid., 100. 90 Ibid., 100.

33

but a marriage such as this one not only bridged an ethnic gap, but a socioeconomic one as well.

The operatic repertoire is filled with libretti whose lovers have crossed many divides, but racial

differences is one that had largely been unexplored. Vinatieri’s inclusion of such racial

intermingling in The American Volunteer is among the work’s most innovative and forward-

looking features.

In understanding the musical aspects of the opera, we might consider its formal structure,

with thirty musical numbers placed throughout. Nineteen of these are for voice and the other

eleven instrumental. The vocal pieces are written primarily for small ensembles (five duets, two

trios, and three quartets), several for large ensemble (one sextet, septet, and octet), and several

others are chorus numbers.91 These chorus numbers largely possess homophonic syllabic

settings, and many have repeated portions that are interrupted with brief solo lines.

The heavy use of spoken dialogue throughout the opera limits the need for recitative;

however, Vinatieri often uses brief bits of accompanied recitative to lead into ensemble numbers.

This use of dialogue to further plot development follows conventions of operetta and the

burlesque traditions. The small ensemble numbers share various characteristics. The duets

possess sung dialogue between the characters but are at their best when Vinatieri brings the

characters’ individual lines together in charming parallel melodies. These moments best illustrate

his ability to compose tuneful and memorable melodies. With this in mind, it is unusual that The

American Volunteer contains only one aria. However, other selections do have extended solo

portions. I was unable to determine any reason for this choice, because if the initial performance

was to have been the World’s Fair the quality of available performers would not have been an

issue. The only aria, “Ah! What a Sweet Loving Charm,” occurs in the second act. Rosa’s Latin

91 See Appendix D, the order of musical numbers in The American Volunteer.

34

heritage is easily identified by sound and texture in the piece, and the influence of Bizet’s

Carmen is immediately recognizable. The Latin aspects of this composition will be discussed in

greater detail in the next chapter.

Throughout The American Volunteer Vinatieri’s training and employment as an

instrumental composer and performer are evident. Vinatieri’s duties in the Seventh Cavalry had

included providing music for dress reviews, concerts, and weekly dances; thus his inclusion of

marches and social dance music in The American Volunteer comes as no surprise. In Act III

Vinatieri introduces a quadrille, a popular nineteenth-century ballroom dance,92 and in Act IV a

waltz. It is his use of the march, however, that bears further inspection.

Vinatieri concludes Act I with “The Army is Now Marching.” In this chorus General

Washington has just led the army through a short drill, and is now leading them to war. The

music’s largely homophonic chorus in 6/8 meter maintains the hopeful optimism of the opening

chorus, ending with the declaration, “We will have the victory everywhere.”

The first of two instrumental marches is introduced as a section of the Act II overture.

Act II takes place in camp, and the march provides the music for the soldiers’ drill. The second

march, in Act IV, again illustrates the roots of the burlesque. Vinatieri uses this march, entitled

“Reception of Dignitaries,” as incidental music, occurring as dignitaries and monarchs from

various countries are received by Tom and Uncle Sam at the World’s Fair in Chicago. In the

Management Book, Vinatieri makes clear that the scene is to be conducted as a pantomime. His

use of this device follows conventions with the arrival of the eleven dignitaries and their escorts

who begin this pantomimed scene. It is, however, the arrival of a flying machine bringing the

92 Andrew Lamb, "Quadrille," Grove Music Online. Oxford Music Online. Oxford University

Press, accessed December 29, 2014,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/22622.

35

final three dignitaries that bring the stage machinery elements of the spectacle to its most

elaborate heights.

The scoring for The American Volunteer is for thirteen instruments: Violin, Viola, Cello,

Contrabass, Clarinet, Flute, Oboe, Bassoon, Cornet, Horn, Trombone, Snare, and Bass Drum. An

ensemble of this size is consistent with other ensembles which performed in locations similar to

Yankton in the late 1800s. Extant photographs of similarly sized ensembles to Vinatieri’s

requirements for The American Volunteer illustrate this. Taken on the opening night of the Grand

Forks Metropolitan Opera House in 1891, the photo below (Image 2) shows the orchestra

performing for its first production, Martha by Friedrich von Flowtow (1812 – 1883).

Image 2. Martha is the first performance in the Grand Forks Metropolitan Opera House, 1891.

Courtesy of the Dakota Grand Forks County Historical Society, Grand Forks, ND.

36

Shortly after the completion of The American Volunteer, The Daily Press and Dakotan

stated that Vinatieri “has the opinion of eminent opera managers and dramatic critics, that he has

produced something that will take popular fancy by storm and rank first among the comic operas

of this day.93” After his death, Vinatieri’s works found no one willing to promote them and as

such this critic’s opinion was never realized. The American Volunteer has moments of true

charm and an original plot, which unfortunately suffers from poor editing and unclear text.

Musically, the work possesses melodies that are as memorable as any of its contemporaries in

American or European opera. Chapter 5 will explore these in more detail.

93 A Work in Music, Daily Press and Dakotan, June 25, 1891.

37

CHAPTER 5

ANALYSIS OF SELECTED PIECES FROM THE AMERICAN VOLUNTEER

“The Beautiful Spring is Coming”

The beautiful spring is coming,

Al the birds begin to sing,

All the flowers are blooming?

Better country cannot be sein [sic].94

The morning is bright and fine

Over us the sun will shine,

Let us love one another

It will please the Above grandfather.

Oh women, men and boys,

I’ve heard a rumor of war!

In this case we will rejoice

For this nation will be a star.95

The American Volunteer opens with an overture and chorus in the key of D major. The

opening chorus, “The Beautiful Spring is Coming,” immediately sets the joyous and light-

hearted nature of the plot that is to unfold and suggests the influence of Gilbert and Sullivan. The

influences of W. S. Gilbert (1836–1911) and Arthur Sullivan (1842–1900) on Vinatieri’s

composition comes as no surprise. His travels playing with various ensembles would have

brought him into contact with their music, very popular in its day and still regularly performed

94 The lyric is taken directly from the manuscript copy of the Management Book, which contains

the libretto. As such, I intentionally leave the mistakes of punctuation and spelling. Management

Book, Vinatieri Archive, National Music Museum, University of South Dakota, Vermillion. 95 Management Book, 3-4.

38

today. The sweeping popularity of Gilbert and Sullivan’s works is illustrated in how quickly

H.M.S. Pinafore traveled from its New York premiere to the American frontier. It had opened at

the Opera Comique in London, England, on May 25, 187896 and subsequently had its official

American premiere on December 1, 1879 at New York’s Fifth Avenue Theater.97 By the end of

the 1879, H.M.S. Pinafore had crossed the continent and been presented in San Diego,

California.98

While the use of a syllabic text setting in opening choruses was not an idea original to

Gilbert and Sullivan, it is typical of many of their works.99 Their use of syllabic settings enabled

the text to be clearly communicated and the initial plot information easily conveyed (Ex. 1). The

opening numbers also possess tuneful melodies, are easy to sing, and are often strophic. This use

of repetition served two objectives: first, it helped to reinforce crucial plot points that were to

unfold, and second, it allowed the audience to become familiar with the tune.

96 “HMS Pinafore Home Page,” The Gilbert and Sullivan Archive, last modified June 12, 2014,

accessed December 21, 2014, http://diamond.boisestate.edu/gas/. 97 Smith, 40. 98 Keith L. Bryant, Tarleton State University Southwestern Studies in the Humanities, vol.

v.12, Culture in the American Southwest: the Earth, the Sky, the People (College Station: Texas

A&M University Press, 2014), 52. 99 This is seen in their use of choruses in "Hark, the hour of ten is sounding," from Trial by Jury

(1875), "We sail the ocean blue," from H.M.S. Pinafore (1878), “Pour, Oh Pour the Pirate

Sherry,” from Pirates of Penzance (1880), "Tripping hither, tripping thither" from Iolanthe

(1882), and “If you want to know who we are” from The Mikado (1885).

39

Example 1. W. S. Gilbert and Arthur Sullivan, Trial by Jury, “Hark, the hour of ten is sounding,”

mm. 25–27.

Trial by Jury by Arthur Sullivan, Book by W.S. Gilbert

© Copyright 1941 by G. Schirmer, Inc.

“The Beautiful Spring is Coming,” the opening chorus to The American Volunteer,

clearly follows this model. The chorus, for SATB chorus and soloist, utilizes a nearly syllabic

text setting throughout. The number possesses a tuneful, memorable melody with multiple

verses. Vinatieri’s syllabic text setting (Ex. 2) and multiple verses resemble the opening chorus

of Gilbert and Sullivan’s Trial by Jury (Ex. 1). Despite their influence, Vinatieri’s style goes

beyond a simplistic replication of their model.

40

Example 2. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm.

1–4.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The formal structure of “The Beautiful Spring is Coming” is AABA1 with a coda. The A

section opens in D major, and the piece reflects the proud and grand nature often associated with

this key. 100 The declaration “The Beautiful Spring is Coming” compares the hope of the

dawning of spring with the blossoming of love and the freedom to come when the nation

establishes its independence from the British. The A section comprises two four-bar phrases

modified on their second iteration. The first phrase opens with a leap from scale-degree 5 to 1

and subsequently descends back down to scale-degree 5 before rapidly ascending again to scale-

100 Mozart composed a number of Marches in D major, K.215/213b and K.290/167AB to name a

few. Mendelssohn too composed a March in D major, Op.108. The “Hallelujah” from Messiah is

in D major as well.

41

degree 4. It is the final chord in measure 1 however, that is of greatest interest harmonically.

Vinatieri uses a common tone diminished seventh chord for the harmony of “is.” The common-

tone diminished seventh chord is a non-structural chromatic chord that serves to expand another

chord. In this case Vinatieri uses the common tone diminished seventh to extend his use of tonic

through the opening three measures. The opening leap and the sweeping nature of the melodic

line provide a balanced melodic contour (Ex. 2).This melodic theme becomes an important

element in this opening chorus. Vinatieri uses this fragment in some form to begin both phrases

in the A section and to open the B section.

Additionally, the latter half of the four-bar phrase of the opening chorus bears a

resemblance the opening chorus of Edward Rice’s Evangeline (Ex. 3). The melody of Rice’s

“We must be off” begins in 6/8 meter with a strikingly similar ascending pattern to that which

completes the opening phrase of “The Beautiful Spring is Coming.” Much like the earlier

possible influences listed, it bears the question of Vinatieri’s intent to copy, or even quote,

portions of Rice’s well-known burlesque composition. While no definitive documentation exists

to determine where or how Vinatieri formed his melodic ideas, the similar shape of melodic

content within the line is noticeable.

42

Example 3. Edward E. Rice and J. Cheever Goodwin, Evangeline, “We must be off,” mm. 17–

22.

Evangeline by Edward E. Rice, Libretto by J. Cheever Goodwin

© Copyright 1877 by Louis P. Goullaud, Publisher.

The A section of The American Volunteer is harmonically very basic, comprised solely of

tonic and dominant chords. Vinatieri provides a moderate level of variety by including the

dominant seventh and frequent inversions of both the tonic and dominant in the underlying

harmony. This simplicity provides the music with an almost child-like character and innocence,

allowing the text to fit the nature of the melodic content’s simplicity.

The B section is a vocal solo by the character John Pilton and begins with a direct

modulation to B minor. This brief solo reuses a portion of the opening melody from the A

section, now presented over a B minor harmony (Ex. 4).

43

Example. 4. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm.

17–20.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The shared melodic contour of this new theme, together with the use of the relative

minor, binds the two sections together cohesively. Even as this verse speaks of the rumor of

impending war, the mood is not one of doom, but a call for rejoicing. Additionally, this section is

much more adventurous harmonically. In eight measures of B minor Vinatieri moves between

the submediant and subdominant chords and a secondary dominant of V. The minor V chord that

follows also serves as the pivot chord (iii), modulating back to D major. Instead of directly

returning to the A section, Vinatieri employs a short transitional section to further solidify the

return to the home key of D major. This transition consists of three measures of a repeated

dominant harmony. While it serves this purpose harmonically, dramatically the transition allows

a moment before the crowd to break forth in excitement, in response to the idea of the nation

continuing to rise in the midst of the possibility of war. Vinatieri uses three “hurrahs” that build

on one another with increasing harmonic texture and greater range in each voice.

44

When the A section returns, Vinatieri has rearranged the vocal lines to follow the new

verse of text. The original setting had the melody in the soprano line for the complete first four-

bar phrase, while in the return Vinatieri revoiced the melody in the tenor voice, with the sopranos

and mezzos singing a new countermelody (Ex. 5). This new version, however, maintains the

simple and repetitive harmonic structure, alternating between tonic and dominant.

Example 5. Felix Vinatieri, The American Volunteer, “The Beautiful Spring is Coming,” mm.

32–36.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

In the concluding coda of this chorus Vinatieri uses a more varied harmonic palette than

he has employed up to this point, with the inclusion of several secondary leading tones, a French

augmented sixth chord, and an altered supertonic (II) chord. The French augmented sixth chord

45

on the downbeat of measure forty-six serves as a cadential 6/4 with the B flat and G sharp

resolving outward. Vinatieri again uses another chord in a similar cadential manner. After he

uses the altered supertonic chord in measure 48, Vinatieri moves to a root position D chord in

measure 49. This root position chord however does not provide the stability that is expected due

to cadential usage. Vinatieri has intensified the dominant with his use of the applied chord E

major. This provides the expectation of a move to the dominant A major chord. He instead uses

the D major tonic chord as cadential 6/4 resolving to a 5/3. Vinatieri then concludes the cadence

beginning all of the voices on scale-degree 5 and moves outward in , moving to a half-

diminished seventh followed by a dominant seventh, finally resolving to the tonic.

The opening chorus for The American Volunteer provides the composition with an

adequate foundation on which to build. While not possessing any innovations, it achieves what

any opening number might in providing needed plot points for subsequent development, and

introducing an instantly memorable and singable melody. The strophic setting and simple

harmonic content allow the chorus at times to become repetitious; however, the brief modulation

to the relative minor and the addition of the coda make it a more finished selection.

46

“Oh Dear my Sweet Love”

Tom – Oh dear my sweet love

Soldiers I must go

Your mother has you sold

Their secret is understood

They praise me so very high,

The money it was the reason why.

If in the battle I may die

Let our love go bye

Minnie – I will surely run away

With my mother I cannot stay,

Without you I will be in despair,

Because you must go battle everywhere

Your heart is sweet and clever,

I shall remember you forever

Both – For you I shall pray101 thee

But don’t forget to love me

Minnie – Without you I am lost,

I will follow you at any cost.

Both – For you I shall pray thee

But don’t forget to love me.

Both – Now I must from you depart,

Remember me in your heart.

We will rejoice when I return

Like to loving bright102 stars.

The Act I duet, “Oh dear my Sweet Love,” takes place just after Tom and Minnie have

heard Minnie’s mother Rosa promise Minnie’s hand in marriage to Lord Leighton, in exchange

for his estate. The theme of separated lovers is very familiar within the opera genre, yet the work

is distinguished by its period and setting, just prior to the Revolutionary War. As such, General

Washington makes a rare appearance in an opera.

101 The score here includes the word “to.” 102 The score indicates the text as “like to sweet star.”

47

In “Oh dear my Sweet Love,” Vinatieri provides each character with an opening solo

section, in an ABCCDC formal structure. The A section contains Tom’s solo in F major. The

optimistic nature of the opening of this piece seems in conflict with the sorrow and resignation

found in the text. It does, however, provide the foundation of the tension felt by Tom and Minnie

in their desire for each other and in their duties to nation and family respectively. Throughout the

A section Vinatieri uses a repeated arpeggiated figure within the accompaniment (Ex. 6). This

figure conveys a light-hearted optimistic sense as well.

Example 6. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 2–4.

The American Volunteer, by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The A section also contains several uses of several diminished chords. In measures three

and seven Vinatieri uses common tone diminished seventh chords to embellish the F chords that

follow, while in measure four he embellishes the tonic chord with mode mixture. Here Vinatieri

borrows the ii diminished chord from F minor. The first, the common tone diminished seventh,

embellishes the tonic, while the latter borrows the diminished mediant chord from the minor

mode (Ex. 6).

48

Unlike his largely homophonic chorus and large ensemble numbers, Vinatieri introduces

more melismatic passages throughout this duet. These passages occur both in the vocal parts and

the accompaniment. Vinatieri uses these passages more frequently in the accompaniment until

the C section when they alternate between the voices. The opening melody of “Oh dear my

Sweet Love” moves from scale-degree 5 to 3 and then ascends chromatically to scale-degree 5

(Ex. 6). Here Vinatieri begins to insert rapid sixteenth-note passages to further build tension.

These passages also contain chromatically altered neighbor tones (Ex. 7).

Example 7. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” m. 8.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The sudden contrast of the parallel F minor at Minnie’s entrance also introduces a

descending melodic fragment that reappears throughout her solo. This fragment has a sigh-like

quality and clearly communicates her loss of hope as her love goes off to war (Ex. 8).

49

Example 8. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 10–11.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The B section closes with an authentic cadence that would have provided a convenient stop, but

would have left off with the lovers in despair, and here Vinatieri uses a short transition to return

to the section’s opening key of F major.

For the C section Vinatieri quickly alternates melodic motives between Tom and Minnie

(Ex. 9). These motives provide a rhythmic sequence, but since they are set over both tonic and

dominant harmonies, Vinatieri modifies the melodies to match the underlying harmony. He

repeats this short section, helping to solidify the return to the opening F major, therefore aiding

in the resolution of the tension from the opening sections. At this moment Tom and Minnie’s

hope and desire for a future together triumphs over the despair of having to be apart.

50

Example 9. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 20–22.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

Vinatieri adds a transition before he reintroduces the thematic material from the opening

of the C section. This transition resets the text from the C section in long melismatic passages,

allowing for greater virtuosic displays for the performers and heightened dramatic expression

(Ex. 10). Additionally, this section does not settle into any key, but alludes to D minor (the sixth

of F major) throughout due to the chromaticized median chord. The expected D major chord is

never given, however throughout Vinatieri maintains an A pedal tone injecting a D minor over it.

Vinatieri finally resolves to the submediant in measure thirty-five, but rapidly moves to the

dominant ending this transitory section.

51

Example 10. Felix Vinatieri, The American Volunteer, “Oh dear my Sweet Love,” mm. 28–29.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

“Oh dear my Sweet Love” concludes with the return of the alternating melodic motives

from the C section. The duet is evocative of many bel canto duets with their use of long solo

lines and the rapid interplay between the characters. Vinatieri’s training in Naples within this

tradition is evident in his treatment of the love duet.

52

“Oh! What a Sweet Loving Charm”

Rosa – Oh! What a sweet loving charm

How nice he would be reclining in my arms

Ah! I cannot help but love him

He is the one whom I did last night dream,

He is silent by himself all alone

And I will speak to him very soon

Oh dear! How nice he does sleep

His beautiful expression to me is deep

What a joy

Oh! My affections is growing very much stronger

I cannot desire much longer

I must make some kind of noise

So that I can hear his sweet voice

What a joy it would be today he should wish to love me.

On his face is a grand fine expression

What a joy.

That brings me to Satan’s temptation

Love is sometimes a true ruination

I only follow the fiction.

What a joy

Love, money, and wine,

It makes the world shine

Soldiers with guns in the field

For we lovers – money and wine

As our shield.

The American Volunteer contains only one aria, “Oh! what a Sweet Loving Charm.”

Vinatieri described this composition as being in a “Mexican style.”103 From the first few notes of

the accompaniment the Spanish influence is identifiable in its striking similarity to the

“Habanera” from Bizet’s Carmen.104(Ex. 11) The habanera is the popular name for the

103 Management Book, 39. 104 While Rosa is of Mexican heritage, one cannot help but wonder if Vinatieri was referring

more to Spanish or Latin American, than actually Mexican, as his intended cultural basis.

53

contradanza dance. The contradanza has its roots in Spain and was brought to the Americas in

the eighteenth century. It possesses the characteristic "habanera rhythm" ( , and is p ) and is

performed with sung lyrics.105 The opening four notes in the bass are nearly identical

Example 11. Georges Bizet, Carmen, mm.4 – 6.

Carmen by Georges Bizet, Libretto by Henri Meilhac and Ludovic Halévy

© Copyright 1895 by G. Schirmer, Inc.

rhythmically (Ex. 12), and the subsequent entrance of the descending melody bears a close

resemblance as well (Ex. 12).

105 Frances Barulich and Jan Fairley, "Habanera," Grove Music Online. Oxford Music Online,

Oxford University Press, accessed January 5, 2015,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/12116.

54

Example 12. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm.

20–23.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

To further show the Latin influence, Vinatieri frequently embellishes the melodic line, especially

with mordents. These flourishes give a free, almost improvised nature, consistent with Latin or

Spanish musical styles, to the syncopated melodic line.

This aria roughly follows the popular form of the cavatina and cabaletta. This form was

especially popular with bel canto composers of Italian opera, and is usually comprised of two

sections. The first section, the cavatina, generally is the slower movement, with a singable

melody and very expressive. This is followed by the second section, the cabaletta, which is

generally faster, and contains more virtuosic displays leading to a climactic moment.106 In “Oh,

what a Sweet Loving Charm,” the division of the two sections is easily identifiable, with the

opening cavatina in C Major, in 2/4, while the cabaletta shifts to G Major, in 3/4.

Unfortunately, Vinatieri does not provide tempo markings for the two sections. Their

melodic lines, however, give clues to possible tempos for each portion of the composition. The

106 Donald Jay Grout and Hermine Weigel Williams, A Short History of Opera, 4th ed. (New

York: Columbia University Press, 2003), 391.

55

opening rhythm of a dotted eighth and sixteenth, followed by two eighth notes, gives the first

section a walking, almost stalking sensation. The opening melody with its embellishment fits

nicely into an Andante, or walking tempo.

In the caballeta, however, Vinatieri’s indications fall more closely in line with the faster

tempo associated with the second section of the two-part formal structure. The melodic line

opens with a number of single separated notes, indicating a faster tempo that would enable these

to sound as one line. The subsequent succession of running, chromatic eighth notes points

towards this quicker tempo as well (Ex. 13).

Example 13. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm” mm.

74–79.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

Throughout “Oh, What a Sweet Loving Charm” Vinatieri again uses a standard harmonic

vocabulary. The eighteen-bar introduction alternates between tonic and dominant for the first

twelve bars. The vocal line enters in m. 20 and the melodic and harmonic content nearly copy

that of the introduction until Vinatieri introduces the cadential 6/4 chord, leading to the close of

the A section of the cavatina.

56

Vinatieri’s conservative use of harmony is again seen in the modulation to the relative A

minor in the B section of “Oh, What a Sweet Loving Charm.” The four phrases of this section

retain the same rhythmic idea of the opening of the aria (Ex. 12). Vinatieri, however, introduces

a new melody for the opening phrase of the B section (Ex. 14). The repeated notes of this phrase

provide a temporary halt to the angular melody previously used in the A section. The B section

follows a similar use of harmony as in the opening in its variation between tonic and dominant,

with the inclusion of secondary dominants to provide harmonic motion. In measure thirty-nine

Vinatieri’s use of the secondary dominant of V is deferred in its resolution. Instead of moving in

the anticipated manner to the dominant, Vinatieri defers the resolution by progressing to the

diminished ii chord of the current key A minor before finally arriving on the dominant at

measure 40.

Example 14. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm.

37–40.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The cavatina concludes with a cadenza over a dominant seventh chord (Ex. 15). This

cadenza is the climax of the opening cavatina and Vinatieri illustrates the bursting forth of the

“deep joy” that Rosa is feeling. In the subsequent return of the A section he uses a new verse of

text but alters little else.

57

Example 15. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” m.

50.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

For the cabaletta Vinatieri changes to 3/4 time and uses a common-chord modulation to G

major. The cabaletta has two parts as well, with the A section of the cabaletta comprised of two

contrasting melodies. The A section has an abab1 phrase structure. The first melody (Ex. 16) has

large gaps and, consequently, a slightly detached feel.

Example 16. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm.

74–79.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

58

This separation hints at a faster tempo and gives the feeling of growing almost breathless in

excitement. The music then bursts forth with the next phrases in an ascending running eighth-

note melody. The faster tempo and more virtuosic line––characteristic of the cabaletta––are

easily apparent within these two phrases (Ex. 17).

Example 17. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm.

78–81.

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

The B section of the cabaletta introduces a new melodic idea in sixteen measures, yet

retains the use of chromatic moving passages also appearing in the previous section (Ex. 18).

59

Example 18. Felix Vinatieri, The American Volunteer, “Oh, what a Sweet Loving Charm,” mm.

106-112

The American Volunteer by Felix Vinatieri

Vinatieri Archive, National Music Museum, The University of South Dakota, Vermillion

This section, however, also provides a glimpse into the true character of Rosa. During the climax

of the aria she declares, “Love, money, and wine[,] it makes the world shine,” and that even in

the midst of war “money and wine is our shield.” Vinatieri again maintains largely the same

harmonic language throughout this section. He also repeats the use of secondary dominants and

secondary seventh chords to provide forward harmonic motion. Additionally, within this section

Vinatieri twice uses common tone diminished seventh chords. These serve to prolong the

resolution to the tonic.

Vinatieri comes to a point of conclusion in mm. 119-120, with an authentic cadence;

however, in the next measure the music continues with an eight-bar musical interlude leading to

a coda. In the score Vinatieri leaves instructions for the performance of Rosa, who “look[s] at

Tom and expresses her affection.” This music seems to bring her back to the present after she has

given a glimpse into her inner dialogue. Her final declaration, “and he is a beauty,” returns the

aria to the original focus on Tom and his charm.

60

CHAPTER 6

MODERN PIANO-VOCAL SCORES

The following critical notes outline the process of creating the piano-vocal scores that are

to follow. The editions prepared for this document were taken from the manuscripts of Felix

Vinatieri’s works housed at the National Music Museum at the University of South Dakota.

I have altered pitch, rhythm, or text only where obvious corrections were needed.

Undertaking a complete update of the libretto Vinatieri wrote for The American Volunteer was

outside the scope of this document. However, when differences of text between the piano-vocal

score and the Management Book occurred I selected the text that most accurately fit within the

context of the composition.

“The Beautiful Spring is Coming” does not contain any corrections or alterations, while

“Oh Dear my Sweet Love” involved a number of alterations to the text. In measure 12

Vinatieri’s incorrect spelling of “because” was corrected. The text contained in measure 14 in the

vocal score is unreadable, although it may be the word “pleasure.” I chose the text used in the

Management Book for this edition as I felt it better communicated the intended effect. Additional

issues with the text occur in measures 31 and 43. The first of these corrections substitutes “I

shall pray to thee” for “I shall pray for thee.” Unlike other changes within these editions that

provide choices due to differences between the Management Book and the vocal score, this was a

choice I made to provide greater clarity. The latter alteration followed the libretto using “like to

loving bright stars" in place of "like two sweet star [sic]."

61

“Oh Dear my Sweet Love” also required corrections to the rhythm and harmony.

Measure 33 contained a dotted quarter note and two eighth-note rests creating a measure with too

many beats. I have chosen to shorten the duration to an eighth-note to alleviate the dissonant

harmony this creates between the two voices. Corrections were made to the harmony in the

accompaniment in measure 33. In this measure Vinatieri omitted the C# in the bass clef. This

measure reuses material from measure 29 which includes the C#. I have chosen to follow the

preceding measure as a clearer indication of his intention. This not only follows the preceding

example, but also provides a secondary dominant for the chords that follow in measure 34.

The final selection “Oh what a Sweet Loving Charm” required only one correction. In

measure 26 the libretto says “he would be reclining in my arms” while the libretto instead uses

“resting.” I have chosen the later because of the easier placement of its syllables within the

rhythm.

62

CHAPTER 7

CONCLUSION

The study of Vinatieri’s music has revealed a competent composer who, though not

innovative in his compositional style, was willing to push boundaries with the content and topics

contained in his work. His training at University of Naples is visible within The American Volunteer

in his ability to produce melodies writing that are singable and tuneful, and his use of melismatic

passages of virtuosic nature are evocative of the great bel canto operas. Harmonically, Vinatieri uses

largely diatonic harmonies, although he frequently utilizes secondary dominant chords and common

tone diminished sevenths as well to provide variety and color. Additionally, he makes frequent use

of modulation, generally moving to closely related keys in such a way as to heighten dramatic

effect.

Vinatieri’s treatment of operatic conventions give credibility to his entitling of the work as a

burlesque. Throughout the work he continues to add additional elements that push the plot almost to

the point of absurdity. This, together with his use of familiar musical elements, such as the

contradanza, provides the music with the charm that appealed to popular audiences. One additional

element that gives further weight to the The American Volunteer’s delineation as a burlesque is its

use of stage machinery.

It is my hope that this document will help elicit a greater interest in the life and works of

Felix Vinatieri, and that the editions included provide opportunities for his music to be heard and

enjoyed by a wider audience. The life and music of this unique frontier composer deserve greater

recognition, not only because of their historical value, but because of their charm and wit.

63

CHAPTER 8

MUSIC EDITIONS

&

&

V

?

?

&

?

##

##

##

##

##

##

##

86

86

86

86

86

86

86

Soprano

Alto

Tenor

Baritone

Bass

Piano

jœ

jœœ

jœ

Jœ

Jœ

jœœ

J

œœœ

œ œ œ œjœ#

œœ

œœ

œœ œœ

jœœ#

œ œ œ œjœ#

œœ

œœ

œœ œœ

J

œœ#

œ œ œ œJœ

œœ

œœ

œœ œœ

jœ#

œœœœœœ

œœœœœœ

J

œœœ#n

Jœ œ ‰ ‰

œ# œ

jœœ œœ

‰ ‰œ# œ

Jœ œ ‰ ‰

œ# œ

J

œœ œœ ‰ ‰ œ# œ

Jœ œ ‰ ‰ œ œ

Jœ œ ‰ ‰

œ# œ

œœœJ

œœœœœœ

J

œœœ

œjœ

œJœ

œjœ œœ

J

œœ

œjœ

œJœ

œJœ œœ

J

œœ

œJœ œ

Jœ

œœ œ

œœ

œ

œœœJ

œœœœœœ

J

œœœ

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

4.œ

œ ‰

.

.œœ œ ‰

.œœ ‰ œ œ

..œœ œœ ‰ œ œ

.

.

œ

œ

œ

œ‰

œ œ

...œœœ

Œ œœ œœ

œœ œœ# œœnn œœ œœ# œœnb.˙

∑

∑

œ œ œ œJœ

œ œ œ œJœ

œ œ œ. œJœ

œœœ

œœœ

œœœ.

œœ

jœœ

œœœœJ

œœœœ

œœœœJ

œœœœ

Œ . Œ œ# œ

Œ . Œ œ# œ

Jœ œ Œ œ# œ

Jœ œ

Œœ# œ

Jœ œ

Œœ# œ

jœœ œœ ‰ ‰ œ# œ

œœœœJ

œœœœ

œœœœJ

œœœœ

œ

œ

œ œœ

œ

œ

œ

œ œœ

œ

œJœ œ œ œ

œJœ œœ œœ œœ

œJœ

œ œ œ

œœœ

œœ œœœ

œœ

œœœœJ

œœœœ

œœœœJ

œœœœ

Music Edition a - The Beautiful Spring is Coming

The beau - -ti- -- ful spring is coming all the birds be - gin to

The beau - -ti- -- ful spring is coming all the birds be - gin to

The beau - -ti- -- ful spring is coming all the birds be - gin to

The beau - -ti- -- ful spring is coming all the birds be - gin to

The beau - -ti- -- ful spring is coming all the birds be - gin to

sing better coun------try can - not be

sing better coun------try can - not be

sing all the flow ------ ers are blooming better coun------try can - not be

sing all the flow ------ ers are blooming better coun------try can - not be

sing all the flow ------ ers are blooming better coun------try can - not be

64

Felix Vinatieri

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

8

.œŒ

jœ

.œŒ

jœ

.œ Œjœ

..œœ Œ Jœ

.œ Œ

J

œ

œ

..œœŒ .

œœœ œ œ

œ œ

œ œ œ œjœ#

œœœœ

œœ œœ

jœœ#

œ œ œ œjœ#

œœ

œœ

œœ œœ

J

œœ##

œœ œœ œœ œœJ

œ

œ

œœ

œœ

œœ œœ

jœ#

œ

œœœœœœ

œœœJ

œœœ##

Jœ œ Œ

œ# œ

jœœ œ

œŒ

œ# œ

Jœ œ Œ

œ# œ

J

œœ œœ Œœ œ

J

œ

œ

œ

œ Œ œ œ

jœœ œœ

Œœ# œ

œœœJ

œœœœœœ

J

œœœ

œjœ

œJœ

œœ

jœœ

œœ

J

œœ

œœ

œœ

œœ

œœJ

œœ œœ œœ œœ

œJœ œ œ œ

œœ

œœ

œœ

œœœJ

œœœœœœ

J

œœœ

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

12.œ

œ ‰ œ œ

..œœ œœ ‰ œ œ

.œœ

‰ œ œ

..œœ œœ ‰œœ œœ

.œ

œ‰

œ œ

..œœ œœ

‰ œ œ

œœ œœ# œœnn œœ œœ# œœnb.˙

œ œ# œn œ

Jœ

œœ œœ œœ œœ

jœœ

œ œ# œn œ

Jœ

œœ

œœ# œ

œn œ

œJ

œœ

œJœ œ

Jœ

œ œ# œn œ

Jœ

œœ J

œœœœœœœœ

J

œœœœ

Jœ œ ‰ ‰ œ# œ

jœœ œœ ‰ ‰ œ# œ

Jœ œ ‰ ‰ œ# œ

J

œœ œœ‰ ‰

œ# œ

Jœ œ

‰ ‰œ# œ

Jœ œ ‰ ‰ œ# œ

œœœ

J

œœœ

œœœ

J

œœœ

œ# œ œ# œ.œ œ

œ# œ œ# œœn ..œœœœ

œ# œ œ# œ.œ œ

œ# œ œœ#œœ

.

.œœ

œœ

œ# œ œ# œ .œn œ

œ#.

œœ.

œœ#.

œœ

.

..œœœ

œœœ

œ

œœœœœœ

œœœ

.

..œœœ

œœœ

Music Edition a - The Beautiful Spring is Coming (Continued)

seen the morning is bright and fine over us the sun will

seen the morning is bright and fine over us the sun will

seen the morning is bright and fine over us the sun will

seen the morning is bright and fine over us the sun will

seen the morning is bright and fine over us the sun will

shine let us love ------- one a ----- nother it will please the a - bove grand

shine let us love ------- one a ----- nother it will please the a - bove grand

shine let us love ------- one a ----- nother it will please the a - bove grand

shine let us love ------- one a ----- nother it will please the a - bove grand

shine let us love ------- one a ----- nother it will please the a - bove grand

65

&

&

V

?

?

&

?

##

##

##

##

##

##

##

..

..

..

..

..

..

..

S

A

T

B

B

Pno.

16.œ œ ‰

.

.œœ

œœ

‰

.œ œ ‰

.

.œœ

œœ ‰

.

.œœ

œœ ‰

.

..œœœ

jœœœ‰ ‰

œœœ œ œ

Jœ Œ

.œ œ ‰

.

.œœ

œœ

‰

.œ œ ‰

.

.œœ

œœ ‰

.

.œœ

œœ ‰ œ

.

..œœœ

œœœ‰œ

œœœ œ

œ

œ

œ

jœ

œ

Œ

∑

∑

∑

∑

œ œ œ œ ‰ œ

œ œ œ œ ‰ œ

J

œœœœ ‰ ‰

J

œœœœ ‰ ‰

∑

∑

∑

∑

.œ ‰ ‰ œ œ

.œ‰ ‰

œ œ

....

œœœœ

J

œœœœ ‰ ‰

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

20

∑

∑

∑

∑

œ

Jœ œ œ œ#

œ jœ œ œ œ#

œœœ

J

œœœ

œœœ

œœœ

œœœ

∑

∑

∑

∑

.œ ‰ ‰ œ œ

.œ‰ ‰

œ œ

.

...

œœœœ#

œ œ œ# œ J

œœœœ ‰ ‰

∑

∑

∑

∑

œ œ œ œJœ

œ œ œ œ ‰ œ

J

œœœœ ‰ ‰

J

œœœœ ‰ ‰

∑

∑

∑

∑

.œ ‰ ‰ œ œ#

.œ‰ ‰

œ œ#

....

œœœœ

J

œœœœ ‰ ‰

Music Edition a - The Beautiful Spring is Coming (Continued)

Fa---------ther. Fa--------ther.

Fa---------ther. Fa--------ther.

Fa---------ther. Fa--------ther.

Fa---------ther. Fa--------ther.

Fa---------ther. Fa--------ther. A wo------------man, man, and boy, I've

(Solo Brom)

(all looking at Bromington)

heard a rumor of war, in this case we will re ------ joice for this

66

&

&

V

?

?

&

?

##

##

##

##

##

##

##

..

..

..

..

..

..

..

S

A

T

B

B

Pno.

24

∑

∑

∑

∑

œ œ œœ

œ œ#

œ œ# œœœœ# œ

œœœ

œœœ

œœ œœœ##

J

œœœ

∑

∑

∑

∑

œ ‰ ŒJœ

jœœ

‰ ‰œœœ

‰œ

J

œœ ‰ ‰ jœ‰ ‰

Œ . Œ ≈⋲rœ

Œ . Œ ≈⋲rœ

Œ . Œ ≈⋲rœ

Œ . Œ ≈⋲ Rœ

Jœ ‰ ‰ Œ ≈⋲ r

œ

œœœ

œ œ œ œ ≈⋲ œ

œœœœ

œ œ œ œ ≈⋲ œ

œ ‰ .

uu

œœ œœ ‰ .

u

œœ

œ ‰ .

uœ œ ‰ .

u

œœ

œ ‰ .

u

œ œ ‰ .

u

œ

œ ‰ .

u

œœ œœ ‰ .

u

œœ

œ‰ .

uœ œ ‰ .

u

œ

œœœ

‰ . œœœœœœ‰ .œœœœ

œ ‰ .œœ œœ ‰ .

œœœ

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

28..œœ œœ ‰ œ

..œœ œœ ‰ œ

.œ œ‰ œ

..œœ œœ ‰ œ

.œ œ‰

œ

œ

....

œœœœœœœ ‰ œ

...œœœ

œœœ‰

œ

œ œ œ œjœ#

œœ

œœ

œœ œœ

jœœ#

œ œ œ œjœ#

œœ

œœ

œœ œœ

J

œœ##

œ

œ

œ

œ

œœ

œœ

J

œ

œ

œœ

œœ

œœ œœ

jœœ##

...œœœ

œœœJ

œœœ

Jœ œ ‰ ‰

œ œ

jœœ œœ

‰ ‰œ œ

Jœ œ ‰ ‰

œ œ

J

œœ œœ ‰ ‰ œ œ

J

œ

œ

œ

œ ‰ ‰ œ œ

jœœn œœ

Œœ œ

œœœJ

œœœœœœ

J

œœœ

œ

œ œœ

œœ

œ

œ œœ

œœ

œ

jœ

œ œ œ

œJ

œœ œœ œœœœ

œœ œ œ œ œ

œœ œ

œœ œœœ

œœœJ

œœœœœœ

J

œœœ

Music Edition a - The Beautiful Spring is Coming (Continued)

na----------------tion will be a star. Oh, star.

hurrah hurrah hur-

hurrah hurrah hur-

hurrah hurrah hur-

hurrah hurrah hur-

hurrah hurrah hur-

rah O wo-----man man and boys you have a ------------------------------------------------

rah O wo-----man man and boys you have a ------------------------------------------------

rah O wo-----man man and boys you have heard a ru ----- mor of

rah O wo-----man man and boys you have heard a ru ----- mor of

rah O woman man and boys you have heard a ru ----- mor of

67

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

32

.œ

‰ ‰ œ œ

..œœ‰ ‰ œœ œœ

.œœ ‰ œ œ

.

.œœ œœ ‰ œ œ

.

.œœ

œ‰

œ œ

œœ.

œœ#. œœnn

.œœ. œœbn

.œœ.

œ

œ

œœœœœœb œœœ

œœœœœœ

œ œ œ œJœ

œœœœœœ œœ

jœœ

œ œ œ œJœ

œ œ œ œJœ

œ œ œ œJœ

œœœœ œœ œœ

jœœ

œ

œœ œœ œœ œœ œœ

œ œ ‰ ‰ ‰ œ# œ

œœ œœ ‰ ‰ ‰ œ# œ

Jœ œ Œ œ# œ

Jœ œ

Œ œ# œ

Jœ œ

Œœ# œ

jœœ œœ

Œ œ# œ

œ

œœœœœœœœœœœœœœœ

œ

œ

œ œœœ

œœœ

œœ œœœ

œœ

œJœ œ œ œ

œJ

œœœœœœœœ

œJœœ œ œ

œœœ

œœ œœœœ

œ

œœœœœœœ

œœœœœœ

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

36

.œŒ œ œ

..œœŒ œ œ

.œ Œ œ œ

.

.œœ Œ ‰

.œ Œœ œ

..œœŒ œœ œœ

œ

œ

œ œ œœ œ

œ œ œ œ .œ œ# œ

œœ

œœ

œœ œœ ..œœ œ# œ

œ œ œ œ .œ œ# œ

∑

œ œ œ œ .œ œ# œ

œœ

œœ

œœ œœ ..œœ œ# œ

œ

œ

œœœ

œœœ

œœœ

œœœ

œœœ

œ œ ‰ Œœ# œ

Œ . Œœ# œ

Œ . Œœ# œ

Œ . Œ œ# œ

œ œ‰ Œ œ œ

œ œ ‰ Œœ# œ

œ

œœœ

œœœ

œœœ

œœœ

œœœ

œœ œ œ

œ œ

œœ œ œœ œœ

œœ

œ œ œ œ œœ

œœJ

œœ œœJ

œœ

œ Jœ œ œ œ

œœ

œœ œœœœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

Music Edition a - The Beautiful Spring is Coming (Continued)

war, in this case we will rejoice for this nation will be a

war, in this case we will rejoice for this nation will be a

war, in this case we will rejoice for this na- tion will be a

war, in this case we will rejoice for this na- tion will be a

war, in this case we will rejoice for this na- tion will be a

star. you have heard a rumor of war in this case we will re --

star. you have heard a rumor of war in this case we will re --

star. you have heard a rumor of war in this case we will re --

star. in this case we will re --

star. you have heard a rumor of war in this case we will re --

(Voblas Solo) (tutti)

68

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

40.œ

œ œ œ

..œœjœœ ‰ ‰

.œjœ

‰ ‰

..œœ

J

œœ ‰ ‰

.œ

œ œ œ

...œœœ œ

œœœ œ

œœ œœ# œœnn œœ œœb œœb

œ œ œ œ œ œ

∑

∑

∑

œ œ œ œ .œ œ œ

œœœœ œœ œœ

.œ œ œ

œœ

œœœœ œœœ

œœœœœœ

œ ‰ œJœ ‰ ‰

‰ ‰jœœ

jœœ ‰ ‰

‰ ‰Jœ

Jœ ‰ ‰

‰ ‰J

œœJ

œœ‰ ‰

œ‰

œ

œ

œ œ

œ ‰ ‰œœ

œœ

œ

œœœ

œœœ

œœœ

œœœ

œœœ

.˙

.

.˙˙

.˙

.

.˙˙

œ œ œ œ œœ

œ œ œ œ œœ

œ

œœœ

œœœ

œœœ

œœœ

œœœ

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

44

‰ œ# œJœ

‰ œœn œœJ

œœ

‰ œ# œJœ

‰

œœn œ

œJ

œœ

Jœ œ œ

jœ

jœ

œœ# œ

œJ

œœ

Jœ

œœœœœœ

J

œœœ

œ œ œ œ œ œb

œœ œœ œœ œœb# œœn œœ

œ œ œ œ œ œb

œœ œœ œœ œœb# œœn œœ

œ

œœ œ

œ œ œb

œœœ

œœœ œœœœœb#

œœœ œœ

œœœœ

œœœœ

œœœœ

œœœ#b

œœœ

œœœ

jœ ‰ ‰ .œ

jœœ

‰ ‰ ..œœ

jœ ‰ ‰

.œ

œ œ# œ œ# œ œ

œ œ# œ œ# œ œ

œœ œœœœœœ

œœœœœœ

œœœ#

œœœ œ# œ œ# œ œ

Jœ œ# œ

Jœ

jœœ

œœn œœJ

œœ

Jœ œ# œ

Jœ

Jœ œ

œn œ

œJ

œœ

Jœ

œœ

œœ

J

œœ

jœ

œœ# œœJ

œœ

Jœ

œœœn œœœ

J

œœœ

Music Edition a - The Beautiful Spring is Coming (Continued)

joice. All you heard a rumor of war. Oh yes, a

joice. Oh yes, a

joice. Oh yes, a

joice. Oh yes, a

joice. All you heard a rumor of war. Oh yes, for this na------tion will be a

star and this na-----tion will be a star, will be ----- a star and this star and this

and this na------tion will be a star, will be----- a star and this star and this

and this na--------------tion will be a star, a star and this

and this na--------------tion will be a star, a star and this

and this na--------------tion will be a star, a star and this

69

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

48œ œ œ œ œ œ

œœ œœ œœ œœ# œœn œœ

œ œ œ œ œ œ

œœ œœ œœ œœ# œœn œœ

œ

œ

œ

œ

œ

œ

œœ# œœ œœ

œœ œœ œ

œœœ œœ œœ#

œœœœœœ

œœœœœœ#

œœœœœœ

œ

Uœ œ œ œ œ

œu

œ# œn œ œ œ

œ

Uœ œ œ œ œ

œU

œ# œn œ œ œ

œU

œ# œn œ œ œ

œu

œœ#œœn

œœ

œ

œ

œ

œ

œœœU œ# œn œ œ œ

œJœ# œ

Jœ#

œ

jœ œ

jœ

œJœ# œ

Jœ#

œJœ œ

Jœ

œjœ œ

jœ

œœœJ

œœœ# œ

œœJ

œœœ#

œœœJ

œœœœœœ

J

œœœ

ƒ

ƒ

.˙

..˙̇

.˙

..˙̇

.˙

....

˙̇˙̇

...˙̇˙

&

&

V

?

?

&

?

##

##

##

##

##

##

##

S

A

T

B

B

Pno.

52

.˙

..˙˙

.˙

..˙̇

.˙

...˙˙̇

.

...

˙˙̇˙

.˙U

..˙̇u

.˙U

..˙̇U

.˙u

.

..˙˙̇u

.u̇

.

..˙˙̇

.œ Œ .

..œœŒ .

.œ Œ .

.œ Œ .

.œ Œ .

.

..œœœ

Π.

.œ

Π.

Music Edition a - The Beautiful Spring is Coming (Continued)

na---------tion will be a star. A ------------------------------- a ------------------------------------------------------------------

a---------tion will be a star. A ------------------------------- a ------------------------------------------------------------------

a---------tion will be a star. A ------------------------------- a ------------------------------------------------------------------

na---------tion will be a star. A ------------------------------- a ------------------------------------------------------------------

na---------tion will be a star. A ------------------------------- a ------------------------------------------------------------------

a ------------------------------------------------- star.

a ------------------------------------------------- star.

a ------------------------------------------------- star.

a ------------------------------------------------- star.

a ------------------------------------------------- star.

70

&

V

&

?

b

b

b

b

c

c

c

c

Tenor

Piano

≈

≈

Rœœœ

rœœ

Adagio q = 68

ÓU Ó

ÓU Œœ

˙̇̇UŒ Œ

˙˙

UŒ Œ

∑

œ œ œ ˙

œœœœ œœœ# œ œœ œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ.

6 6

œœ

œœœ# œœœœ œœ

&

V

&

?

b

b

b

b

T

Pno.

3

∑

3

œ œ .œn œ œ ‰ Jœ

3

œœœœ œœœ# œ œœ

œ. œ.œ. œ. œ.

œ. œ. œ. œ. œ. œ.

6 6

œœœœœn œœ œœœ

∑

œ .œ .œ# œ œ œ ‰ ‰ Jœ

œœœœ œœœ# œ œœœ

œ œœœb œ

œœ œœœ# œœ œœœb

Music Edition b - Oh dear my Sweet LoveFelix Vinatieri

Oh dear my sweet love

soldiers I must go Your mother has you sold their

71

&

V

&

?

b

b

b

b

T

Pno.

5

∑

5

œ œ ‰ œ œ œ# œ œ œ œ# œ œ ‰ jœ

6 6

5

˙̇̇ œœœœœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

6

6

˙̇̇ œœ

œ œ œ œ œ œ œ œ œ œœ ®  . .

6

6

∑

œ œ œ œ œ œ ‰ jœ

œœœœ œœœ

œ œœ œ œ œ œ œ œ œ œ œ œ œ

6 6

œœ

œœœœœœœ œ

œ

&

V

&

?

b

b

b

b

812

812

812

812

T

Pno.

7

∑

7

œ œ œ œn œ œ œ Jœ ‰ ‰ œ œ

7

œœœœ œœœn

œœœ# œœ œ.œ. œ. œ.

œ.œ. œ. œ. œ. œ. œ.

6

6

œœœœœœœn#

œœœ œœœ

Music Edition b - Oh dear my Sweet Love (Continued)

72

secret is un------- -derstood they prize me so very high The

mo----ney it was the reason why in

&

V

&

?

b

b

b

b

812

812

812

812

T

Pno.

8

∑

8 œ œ œ# œ œ œ œ ‰ . œ œ œ œn œ œ# œ œ≈ r

œ

8

...œœœ œ œ œ œ œ œ ...œœœ œ œ œ œ œ œ

.

.œœ ...œœœ

....œœœœ .

.œœ

&

V

&

?

b

b

b

b

T

Pno.

9

∑

9

œ œ œ œ .œ œ œ œ œ œ œ œ .œ Œ .

9

...œœœ...œœœ œœ œ œ œ œ œ Œ .

.

.œœ

..œœ .....œœœœœ Œ .

œJœ œ œb œ œ œ œ œ ‰ ‰ œ œ

∑

œœœb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

œœ ‰ œ

œ ‰ œœ ‰ œ

œ ‰

Music Edition b - Oh dear my Sweet Love (Continued)

battle I may die In battle I may die Then

let our love go bye.

I will surely run a----way with my

73

&

V

&

?

b

b

b

b

T

Pno.

11

œbJœ œ œ œ œb œ œ jœ ‰ ‰ Œ œ œ

11

∑

11

...œœœ...œœœ

...œœœ...œœœ

œœ ‰ œ

œ ‰ œ œ œ œ œ œ

œJœ œ œ œb œ œ œ œ ‰ Œ œ œ

∑

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

jœ ‰ ‰ jœ ‰ ‰ œ œ œ œ œ œ

&

V

&

?

b

b

b

b

T

Pno.

13 œ jœb œ œ œ œb œ œ .œ ‰ ‰ jœ

13

∑

13

œœœb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

jœ ‰ ‰ jœ ‰ ‰ œ œ œb œ œ œ

œ-Jœ œ œb œ œ œ œ œ ‰ ‰ ‰ jœ

∑

œœœb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

jœ ‰ ‰ jœ ‰ ‰ œ œ œb œ œ œ

Music Edition b - Oh dear my Sweet Love (Continued)

mo------ther I can not stay Without you I will be in despair Becase

you must go battle everywhere. Your heart is sweet and cle--ver I

74

&

V

&

?

b

b

b

b

T

Pno.

15 œJœb œ œ œb œ œ œ .œ

œ œA œ œn œ œAUJœ

15

∑

15

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ...œœœ

œœ

‰ jœœ

‰ ‰ jœœ

‰ ‰ ..

œœ

&

V

&

?

b

b

b

b

44

44

44

44

812

812

812

812

T

Pno.

16

œ ‰ Ó . Œ .

16

Œ ‰ œ ‰ œ Jœ œ ‰

16

...œœœb œ œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ

œœœœb œ œn œ œ œJœœœ ‰ ‰ J

œœœ ‰ ‰ Jœœœ ‰ ‰

ƒ

ƒ

rallenta

∑

∑

Jœ

œœbJœœ J

œœ œœJœœ

œœœ œœœb œœ œœœ

f f

∑

∑

...˙̇̇ ‰ ‰

.

.˙˙ ‰ ‰

Music Edition b - Oh dear my Sweet Love (Continued)

shall re--------mem--ber you for e-------------------------------------------------

-ver

Oh! You are sweet

75

&

V

&

?

b

b

b

b

812

812

812

812

..

..

..

..T

Pno.

19

Œ . Œ . Œ . ‰œ

19

Ó . Œ . Œ .

19

œœœ œ œ œ œ œ‰

œœ œœ œœ œœ œœ

.

.œœ Œ . .

.œœ Œ .

.œ ‰ œ# œ .œ ‰œ œ#

‰ œ# œ .œ ‰ œ œ .œ

‰œœ œœ œœ œœ œœ

‰œœ œœ œœ œœ œœ

.

.œœ Œ . .

.œœ Œ .

&

V

&

?

b

b

b

b

T

Pno.

21

.œ Ó . ‰ œ œ

21

.œ Ó . Œ .

21

œœœ œ œ œ# œ œœœ œ œ# œ œœ œœ œœ.

œœ.œœ.

œœ.œœœ J

œœœ

œ œ œ œ œ œ œ. œ. œ. œ œ œ

.œ ‰ œ œ .œ ‰ œ œb

‰ œ œ .œ ‰ œ œ .œ

œ œ œ œœ œœ œœ‰ œ œ œœ œœ œœ

.

.œœ

Œ . jœœ

‰ ‰ Œ .

Music Edition b - Oh dear my Sweet Love (Continued)

For You I shall pray pray

thee but don't for------get to love

For you I shall pray

thee but don't for-------get

76

&

V

&

?

b

b

b

b

T

Pno.

23

.œŒ ‰ Œ ‰ ‰ œ œ

23

.œ Œ ‰ Œ ‰ Œ ‰

23

œœœ œ œ œn œ œ œ œ œ œ œœ œ œ œ œ œœœ J

œœœ

jœœ ‰ ‰

Jœœœ ‰ ‰

jœœœ ‰ ‰jœ

œ ‰ ‰

.œ ‰ œ# œ .œ ‰œ œ#

‰ œ œ .œ ‰ œ# œ œ œ œ

‰œœ œœ œœ œœ œœ

‰œœ œœ œœ œœ œœ

jœœ ‰ ‰ Œ .

jœœ ‰ ‰ Œ .

&

V

&

?

b

b

b

b

T

Pno.

25

.œ Œ ‰ Œ ‰ ‰ œ œ

25

œ œ œ .œ Œ . Œ .

25

œœ œ œ œ# œ œ œ œ œ# œ œœ œœ œœ œœ œœ œœ œœ Jœœ

œ œ œ œ œ œ œ œ œ œ œ œ

.œ ‰ œ œ .œ ‰ . œ œ œ

‰ œ œ .œ ‰ œ œ .œ œ œ œ

‰ œœ œœ œœ œœ œœ‰ œœ œœ œœ œœ œœ

jœœ

‰ ‰ Œ ‰ jœœ

‰ ‰ Œ ‰

Music Edition b - Oh dear my Sweet Love (Continued)

me without you I am lost I am

lost I will follow you at any

me without you I am lost I am

lost, I am lost I will love you at any

77

&

V

&

?

b

b

b

b

..

..

..

..T

Pno.

27

.œ Œ . Œ . Œ jœ

27

.œ Ó . Œ .

27

œ œ œ œ œ œ‰

œœ œœ œœ œœ œœ

.

.œœ Œ . jœ ‰ ‰ jœ ‰ ‰

.˙U

Π. Π.

.˙U

Œ . Œ jœ

...œœœœU œ œ œn œ .œ Œ ‰

œœ œ œ œ œ œ ...œœœ

U ...œœœ Œ ‰poco meno

&

V

&

?

b

b

b

b

T

Pno.

29

Œ ‰ Œ jœ œ œ œ# œ œ# œ .œ

29

œ œ œ# œ œ# œ œ œ# œn œ œ# œn .œ ‰ ‰ jœ

29

..˙̇ ..˙̇

.˙ ..˙̇# .˙ ..˙̇

Music Edition b - Oh dear my Sweet Love (Continued)

cost. For cost.

cost. cost. For

you ------------------------------------------------------------------------------- I

For you-----------------------------------------

78

&

V

&

?

b

b

b

b

T

Pno.

30

Œ ‰ Œ jœ œ œ œ# œ œ œ .œ

30

œ œ œ# œ œ œ œ œ œ œ# œ œ .œ ‰ ‰ jœ

30

..˙̇ ..˙̇

.˙..˙̇ .˙

..˙̇

Œ ‰ .œ œ œb . œ. œ. œn . œ# jœ

.œ œ. œ. œ. œ. œ. œ. jœ#œ œ

Jœ

...˙̇̇ ...œœœn# ...œœœb

.˙..˙̇ ...˙˙˙#

&

V

&

?

b

b

b

b

T

Pno.

32

.œ Œ ‰ Œ ‰ Œ ‰

32

.œ# Œ ‰ Œ ‰ Œ jœ

32

œœ# œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœjœœœ# ‰ ‰ Œ ‰ Œ ‰ Œ ‰

∏

∏

Œ ‰ Œ jœ œ œ œ# œ œ# œ Jœ ‰ ‰

œ œ œ# œ œ# œ œ œ# . œn . œ. œ# . œn . .œ ‰ . œ œ œ

...˙̇̇ ...˙˙̇

.˙ ..˙̇# .˙ ..˙̇

Music Edition b - Oh dear my Sweet Love (Continued)

shall--------------------------------------- pray I shall pray---------------- for ---------------------

I shall -------------- pray shall pray ------------------ for

thee but you don't

thee but you ------------------- don't ----------------------- forget to

79

&

V

&

?

b

b

b

b

44

44

44

44

812

812

812

812

T

Pno.

34

Œ ‰ ‰ . œ œ œ œ œ œ# œ œ œ .œ

34

œ œ œ# œ œ œ œ œ œ œ# œ œ .œ ‰ œ œ

34 ...˙̇̇ ...˙̇̇

.˙..˙̇ .˙

..˙̇

.œ Jœ œ œ

.œ Jœœ œ#

...œœœ Jœœœ

œœœ œœœ#

˙̇̇ œœœ œœœ#

œ# Œ UŒ Œ

œŒ UŒ ‰ œ# œ

3

Jœœœœ# ‰ ˙̇̇˙n

UŒ

Jœœœœ# ‰ ˙̇̇

˙nU

Œ

ƒ

ƒ

&

V

&

?

b

b

b

b

812

812

812

812

T

Pno.

37

‰ œ# œ .œ ‰ œ œ .œ

37

.œ ‰ œ œ .œ ‰œ œ#

37

‰œœ œœ œœ œœ œœ

‰œœ œœ œœ œœ œœ

.

.œœ Œ ‰ .

.œœ Œ ‰

‰œ# œ .œ Œ ‰ Œ ‰

.œ Œ ‰ Œ ‰ œ œ œ

‰ œœ œœ œœ œœ œœ‰ œœ œœ œœ œœ œœ

.

.œœ

Œ ‰ ..

œœ

Œ ‰

œ œ œ .œ ‰ œ œ .œ

.œ ‰ œ œ .œ ‰ œ œb

œ œ œ œ œ œ œ œ œ œ œ œ

.

.œœ

Œ ‰ ..

œœ

Œ ‰

Music Edition b - Oh dear my Sweet Love (Continued)

lo ----------------------------------- ve me don't for ------ get to love ------------ me Now I

forget to love -------------- me get to love ------------ me

must from you de -------- part, remember me in your heart in your

now I must from you de --- part remember in your heart

80

&

V

&

?

b

b

b

b

T

Pno.

40

‰ œ œb .œŒ ‰ Œ ‰

40

.œŒ ‰ Œ ‰ ‰ œ# œ

40

œ œ œ œ œ œ œ œ œ œ œ œ

.

.œœ Œ ‰ .

.œœ Œ ‰

≈ œ# œ œ .œ ≈ œ œ œ .œ

.œ ≈ œ œ œ .œ ‰œ œ#

œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ

.

.œœ Œ ‰ .

.œœ Œ ‰

&

V

&

?

b

b

b

b

T

Pno.

42

‰ œ œ .œ Œ ‰ Œ ‰

42

.œ Œ ‰ Œ ‰ ‰ œ œ

42

œ œ# œ œ œ œ œ œ œ# œ œœ œœ œœœœ œœ œœ œœ J

œœ

œ œœ œœ œ œœ œœ œœ œœ œœJ

œœœ ‰ ‰

≈ œ œ œ .œ œ Jœ.œU

.œ ‰ œ œ œJœ œ œ œ œ œ œ

U

‰ œœ œœ œœ œœ œœ ...˙̇̇U

.

.œœ

Π. ..

˙˙

U

Music Edition b - Oh dear my Sweet Love (Continued)

in your heart we will re - joice at your re -- turn

heart we will rejoice when I re --- turn like a

star we will rejoice like two lov - ing bright --------

like two star, we will re - joice like two bright

*

81

&

V

&

?

b

b

b

b

T

Pno.

44

.˙U

Ó .

44 .U̇Ó .

44

œœœœ œ œ œ œ œ œ œ œ œ œœ

...œœœU

.

.œœ

....œœœœ .

.œœ

U Π.

Music Edition b - Oh dear my Sweet Love (Continued)

stars.

stars.

82

&

&

?

42

42

42

Soprano

Piano

∑

jœœœ ‰ Œ

.œ œ. œœ. œ.

∑

‰ ≈ rœ.

œ. œ.

.œ œ. œœ. œ.

∑

œ œ œ œ œ œ. œ œ

.œ œ. œœ. œ.

&

&

?

S

Pno.

4

∑

4

œ œ œ œ œ œ œ

.œ œ. œœ. œ.

∑

˙˙˙

.œ œ. œœ. œ.

∑

‰ ≈ rœ

œœ. œœ## .

.œœ.

œœ. œ.

&

&

?

S

Pno.

7

∑

7 œ œ œ œ œ œ. œ œ

.œœ œœ œ

∑

œ œ œ œ œ œ œ œ œ

.œœ œœ œ

∑

.œ ‰

.œ œ œœ œ

Music Edition c - Oh, What a Sweet Loving CharmFelix Vinatieri

83

&

&

?

S

Pno.

10

∑

10

‰ ≈ rœ.

œ. œ.

.œ œ. œœ. œ.

∑

œ œ œ œ# œ œb œ œ# œ

.œ# œ œœ# œ

∑

œœœ# œ œ œœ. œœ.

.œ œ œœ# œƒ

ƒ

&

&

?

S

Pno.

13

∑

13 ˙̇̇

.œ œœ. œœ. œœ.

∑

‰ œ# œ œ œ œ œ

.œ œœ œœ œœb

∑

œ œ œ œ œ œ# œ œœœ œœœ

3

.œ œ. œ. œœœb .>dim.

dim.

&

&

?

S

Pno.

16

∑

16

œ œ œ œœ œœb œœ

œ ≈ œœœœb . œœœ .

∑

...œœœ œ œœ œ

..œœ œ œ. œ.

∑

.œ œ œœ œ

.œ. œ.œ. œ.

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

84

&

&

?

S

Pno.

19

∑

19

..œœ œ.œ. œ.

.œ œ œ œ

‰ ≈ rœ .œU œ

..œœ œ.œ

Uœ

.

.œœ œ œœ

U

œ

œ œ œ œ œ. œ œ œ

.œ. œ.œœ. œ.

.

.œœ œ œœ œ

&

&

?

S

Pno.

22

œ œ œ œ œ œ œ

22

.œ.œœ.

œœ. œœ.

.œ œ œœ œ

˙

..œœ. œ.œœ. œ.

.œ œ œœ œ

‰ ≈ rœ

œ œ

.œ.œœ.

œœ. œœ.

.

.œœ

œ œœ œœ

&

&

?

S

Pno.

25 œ œ œ œ œ œ œ œ

25

.œ.œœ.

œœ. œœ.

.œ œ œœ œœ

œ œ œ œ. œ. œ œ œ œ

.œ.œœ.

œœ. œœ.

.œ œ œœ œœ

.œ ‰

.

.œœ.œ.

œœ. œ.

.

.œœ œ œœ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

Oh what a sweet oh what a

sweet lov ------- ing charm, How

nice he would be rest----ing in my arms.

85

&

&

?

S

Pno.

28

‰ ≈ rœ.

œ. œ.

28

.œ.œ.

œœ. œ.

.œ œ œœ œ

œ œ œ œ# œ œb œ œ# œ

..œœ# œ œœ œ

.

.œœ#

# œ œœ œ

œœ#œb œ œ œœ œœ

..œœ# œ œœ œ

.

.œœ#

# œ œœ œ ≈

&

&

?

S

Pno.

31 ..œœ ‰

31

..œœ œ œœ œ

.œ œ œœ œ

‰ œ# œ œ œ œ œ

..œœ œ œœ œœœb

.

.œœ œ œœ œœb

œ œ œ œ œ œ# œ œ œ ≈3

.

.œœ œœœœ## œœœ

.œ œœ œ œœ

&

&

?

S

Pno.

34

œ œ œ œ œ œ

34

...œœœ œ œœb œœœ

.œ œœœ œ

.œ‰

..œœ œ œœ œ

.

.œœ œ œœ œ

∑

..œœœœ œœ œœœ#

.œœ œ œœ#

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

Oh! I can-----not help that to love

him, he is the one of whom

I did, I did last night dream.

86

&

&

?

S

Pno.

37

.œ œ œ œ

37

...œœœ œ œœœ œ

.

.œœ

œ œ œ

.œ# œ œ œ

...œœœ œœ# œœ œœœ

.œœ œœ# œ

œ œ œ œ# œ

...œœœ## œ œœœnn œœœ

.œ# œœœœ œ

&

&

?

S

Pno.

40

œ# œ# œ ≈ œ œ40

...œœœ#œ œœ œœ

.œ œ œ œ

.œ œ œ œ

...œœœœ œœœ œœœ

.œ œ œœœ

œ# œ œ œ œ

...œœœ# œ œœ# œœœ

.œœ œœ# œ

&

&

?

S

Pno.

43

œ# œ# œ œ œ

43

...œœœ## œ œœ œœœ

.œ œ# œœœ# œ

œ œ ‰ ≈ rœ

...œœœ#œ œœ œœ

.œ œ œœ# œ

.œ œ œ œ

...œœœ œ œœ œœœ

.œ œ œœ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

He is si------lent by him self and a --------------------------

lone, and I will speak to him, I will speak to

him very -------------------------- soon. Oh dear how nice he

87

&

&

?

S

Pno.

46

œ œ œ ‰ jœ46

...œœœ# œ œœ# œœœ

.œ œ œœ# œ

œ# œ œ œ œ œ œ

..œœ# œœ œœœ# œœœ

.œ œ# œ# œ

.œ œ œ œ œ œ

..œœ œœ œœ œœ œœ œœ

..œœ# œ œ œ œ œ

&

&

?

46

46

46

42

42

42

S

Pno.

49 .œ œ œ œ œ œ

49

..œœœœœ# œœœ#

œœœ œœœœœœ

..œœ# œ œ œœ œ œœ

œU

œ œ œ# œœ

U

œ# œ œ# œ œ# œ œ œ œ# œ œ œ œ œ œ œ œU

œ œ œ œ Jœ. ‰U

Jœœœ# ‰U ŒU Œ Œ ŒU ‰ ≈ r

œœœn

Jœœ# ‰U ŒU Œ Œ ŒU ‰ ≈

rœœ

n

&

&

?

42

42

42

S

Pno.

51

∑

51

...œœœ≈

rœœœ#

.

.œœ ≈ r

œ

∑

...œœœ œ œœ œ

.

.œœ œ œœ œ

‰ ≈ rœ .œ œ

..œœ œ œœ œ

.œ œ œœ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

does keep, his beauty ex-pres-sion to me is, is deep, is deep, is

deep, is deep, is deep is deep and what a joy a joy.

Oh my af -

88

&

&

?

S

Pno.

54

œ œ œ œ œ œ œ œ

54

..œœ œ œœ œ

.œ œ œœ œ

œ œ œ œ œ œ œ

∑

.œ œ œœ œ

œ .œ Œ

..œœ œœœ œœ

.

.œœœ œ œ

&

&

?

S

Pno.

57

‰ ≈ rœ

œ œ

57

..œœ œœœ œœ

.

.œœœ œ œ

œ œ œ œ œ œ œ œ

..œœ œ œœ œœ

.œ œ œ œ

œ œ œ œ œ œ œ œ œ

.œ œœœœ œ

.œ œ œ œ

&

&

?

S

Pno.

60

œ .œ Œ

60

..

.œœœ

œ œœ œ

.œ œ œ œ

‰ ≈ rœ œ œ

..œœ œ œœ œ

.œ œ œœ œ

œ œ œ œ# œ œb œ œ# œ

..œœ# œ œœ œ

..œœ œ œ œ

f

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

fection is growing ve----ry and much stronger,

I cannot keep still much

longer. I must make some

89

&

&

?

S

Pno.

63 œ œb œ œ œ œ

63

..œœ# œ œœœ œœ

.œ œ œœ

œ Œ

..œœ œ œœ œ

.

.œœ œ œ œ

‰ œ# œ œ œ œ œ

..œœ œ œœ œb

.

.œœ œ œ œb

&

&

?

S

Pno.

66

œ œ œ œ œ œ# œœ œ

66

...œœœ œœœœœ

bb œœœœ

.œœœ œœbb œ

œ œ œ œ œ œ

...œœœ œœœœb œœœ

.œ œ œœ œ

˙

..œœ œ œœ œ

.

.œœ œ œ œ

&

&

?

#

#

#

43

43

43

S

Pno.

69

œ ŒU

69

œœœ‰U jœœœ

œœ

‰U jœœ

f

f

∑

œ

œœœ. œœœ

. œœœ.

œœ

œ œ œ

∑

œœœ. œœœ

. œœœ.

œ œ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

kind of a noise, so --------------------------------------

that I can hear his sweet voice.

90

&

&

?

#

#

#

S

Pno.

72

∑

72

œ

œœœ œœœ œœœ

œœ

œ œ œÍ

Í

∑

œœœ œœœ œœœ

œ œ œπ

π

œ Œ Œ

Œ œœœ œœœ œœœ

œ Œ Œ

&

&

?

#

#

#

S

Pno.

75

œ Œ Œ

75

Œ œœœ œœœ

œœ

Œ Œ

œ# œ œ

œœœ# œœœ œœœ œœœ

œ Œ Œ

Jœ .œ Œ

Œ œœœ œœœ

œ Œ Œ

π

π

&

&

?

#

#

#

S

Pno.

78

œ œ œ œ œ œ

78

Œ œœœ œœœ

œ Œ Œ

œ œ œ œ# œ œ

Œ œœœ œœœ

œ Œ Œ

œ œ œ# œ œ# œ

œœœ œœœ œœœ

œ œ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

What

a joy it will be,

if to ---------- day he should wish to ---------------------------------------------

91

&

&

?

#

#

#

S

Pno.

81

œ ˙81

œœœ œœœ œœœ œœœ

œœ

Œ Œ

œ œ œ

Œ œœœ œœœ

œœ

Œ Œ

œ œ œ

Œ œœœ œœœ œœœ

œœ

Œ Œ

&

&

?

#

#

#

S

Pno.

84

œ# œ œ

84

œœœb œœœ œœœ

œœ

Œ Œ

Jœ .œ Œ

Œ œœœ œœœ

œœ

Œ Œ

œ. œ# . œ. œ# . œ. œ# .

Œ œœœ œœœ

œœ

Œ Œ

&

&

?

#

#

#

S

Pno.

87

œ. œ. œ# . œ. œ# . œ.

87

Œ œœœ œœœ

œœ

Œ Œ

œ. œ# . œ. œ# . œ. œ.

...˙̇̇n

..˙̇n

œ Œ Œ

jœœœœ‰ jœ ‰ j

œ‰

Jœœ ‰ Jœ

. ‰ jœ.‰

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

love me. On his face is a grand

fine ex ------------- pression, ah --------------------------------------------------

----------------------------------------------------- what ------------------------ a joy.

92

&

&

?

#

#

#

S

Pno.

90

œ Œ œ

90

Œ œœœ œœœ œœœ

œ Œ Œ

œ Œ œ

Œ œœœ œœœ

œŒ Œ

œ# œ œ

Œ œœœ## œœœjœœœ

‰

œœ

œ œ œ

&

&

?

#

#

#

S

Pno.

93

Jœ .œ Œ

93

Œ œœœ œœœ

œœ

Œ Œ

œ œ œ œ œ œ

Œ œœœ œœœ œœœ

œœ

Œ Œ

œ œ œ œ œ# œ

œœœ œœœ œœœ

œ œ œ

&

&

?

#

#

#

S

Pno.

96 œ œ œ# œ œ# œ

96

œœœ œœœ œœœ

œ œ œ

œ .œ ‰

œœœ œœœ œœœ œœœ

œœ

œ œ œ

œ Œ Œ

œœœ œœœ œœœ

œ œ œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

that brings me to cer ------------ tain temp -

ta --- tion, love is some times a true,

a true rui-------------------nation, I

93

&

&

?

#

#

#

S

Pno.

99

œ Jœ ‰ Œ

99

Œ œœœ œœœ

œœ

Œ Œ

œ# œ œ

Œ œœœb œœœ œœœ

œœ

Œ Œ

œ œ Œ

œœœ œœœ œœœ

œœ

Œ Œ

œ. œ. œ# . œ. œ# . œ.

Œ œœœ œœœ

œœ

Œ Œ

œ. œ# . œ. œ# . œ. œ.

Œ œœœ œœœ

œœ

Œ Œ

&

&

?

#

#

#

S

Pno.

104 .˙

104

œœœ‰ jœœœ œœœ

œ ‰ jœ œ

œ Œ Œ

œœœŒ Œ

œ Œ Œ

.˙

œœœbb œœœ œœœ œœœ

œ œb œb œf

f

œb œ œ

œœœbb œœœ œœœ

œ œb œb

π

.˙

.˙

œ œ œ œ

&

&

?

#

#

#

S

Pno.

109

Jœ ‰ œ# œ œ œ

109

jœœœ‰ œ# œ œ œ

œœœ œœ

œ# Œ œ

œœ# Œ œœ

œœœœ œœœ

œ# œ œ œ# œ œ#

..˙̇#

œœœ œœ

Jœ .œ Œ

œœœ œœœ œœœ œœœ

œœ

Œ Œ

œ œ œ

œ œ# œ œ œ œ

∑

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

on -- ly fol --- low the fiction. Ah --------------------------- what a

joy. Love money and wine

it makes the world Shine Soldiers with

94

&

&

?

#

#

#

S

Pno.

114

˙b œ

114

˙̇˙#

b Œ

œœœ# œœœ œœœ œœœ

œb œ œ

œœb. œœ. œœ# .œœœ#. œœœ

. œœœ.

œ Œ œ œ

œœœ œœœ œœœ œœœ

œ œ œ œ

œ œ œ œ ‰ Jœ# œ œ#

œ œ œ œ ‰ Jœ# œ œ#

Œ œœœ## œœœ.˙

.˙

....˙̇̇˙#

Œ œœœ# œœœ œœœ.˙

&

&

?

#

#

#

S

Pno.

119 .œ ‰ œ œ

119 ....˙̇˙˙

Œ œœœ œœœ œœœ..

˙˙

.˙

œ œ œ œ œ œ

œœ œœ œœ

Jœ ‰ Œ Œ

Jœœœœ ‰ ‰ jœœ œœ œœ

Jœ ‰ Œ Œ

ƒ

∑

œ œ œ# œ œ œ

œœœœ œœœ

∑

...œœœ jœœ œœ œœ

œœœœ œœœ œœœ

&

&

?

#

#

#

S

Pno.

124

∑

124 œœ œœ œœ## œœ œœ œœ

œœœœ œœ

∑

...œœœ Jœœ œ

œœœ œœ œœ

∑

œ œ œ# œ œ œ

œ œœ œœ

∑

œ œ œ œ œ# œ

œ œœ œœ

∑

œ œ œ# œ œ œ#

œœœ œœ œœ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

guns with guns in the field, for we lover money and wine

is our shield.

95

&

&

?

#

#

#

S

Pno.

129

Œ Œ œ œ

129 .œ jœœ œœ œœ

œœ œœ œœ∏

∏

œ Œ Œ

œ œ œ# œ œ œ

œœœœ œœœ œœœ

œ œ œ

...œœœ ‰ œœ œœ

œœ œœ œœ

œ œ Œ

œ œ œ# œ œ œ

œœœœ œœ

Œ Œ jœ ‰

Jœœœbb ‰ œœœ ‰ jœ

Jœœœbb ‰ œœœ ‰ Jœ

f

f

∏

∏

&

&

?

#

#

#

S

Pno.

134

Œ Œ œ

134

œ. œœ.œœn .

œ. œ. œn .

œ. œ. œ.

œœœ.œœœ. œœœ##

.

œ. œ. œ# .

ƒ

ƒ

.˙

.˙

œ œ# œ œ# œ œ

Jœ ‰U Œ Œ

Jœ ‰U Œ Œ

Jœ ‰U Œ Œ

Music Edition c - Oh, What a Sweet Loving Charm (Continued)

Oh! dear how he is pretty! Ah!

and he is a beau ---------------------------------------- ty.

96

97

BIBLIOGRAPHY

Bryant, Keith L. Tarleton State University Southwestern Studies in the Humanities. Vol.

v.12, Culture in the American Southwest: the Earth, the Sky, the People. College Station:

Texas A&M University Press, 2014.

Calhoun, James. With Custer in 74: James Calhoun Diary of the Black Hills Expedition, ed.

Lawrence Frost. Provo, UT: Brigham Young University Press, 1979.

Connell, Evan S. Son of the Morning Star. New York: Harper & Row, 1984.

Dizikes, John. Opera in America: A Cultural History. New Haven, CT: Yale University Press,

1993.

Donovan, James. A Terrible Glory: Custer and the Little Bighorn: The Last Great Battle of the

American West. New York: Little, Brown, and Company, 2008.

Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical. 1st ed.

New York: Cambridge University Press, 2002.

Gay, James R. The Wind Music of Felix Vinatieri, Dakota Territory Bandmaster. DMA diss.,

University of Northern Colorado, 1982.

Gleason, Bruce, “The Mounted Band and Field Musicians of the U.S. 7th Cavalry During the

Time of the Plains Indian Wars,” Historic Brass Society Journal 21 (2009): 83.

Grinnell, George Bird. Two Great Scouts and Their Pawnee Battalion: The Experiences Of

Frank J. North and Luther H. North, Pioneers in the Great West, 1856-1882, and Their

Defence of the Building of the Union Pacific Railroad. Lincoln, NE: University of Nebraska

Press, 1973. eBook Collection (EBSCOhost, EBSCOhost (accessed December 21, 2013).

Grout, Donald Jay, and Hermine Weigel Williams. A Short History of Opera. 4th ed. New York:

Columbia University Press, 2003.

Hatch, Thom. The Custer Companion: A Comprehensive Guide to the Life of George Armstrong

Custer and the Plains Indian Wars. Mechanicsburg, PA: Stackpole Books, 2002.

Heatherly, Corinne E. “Vinatieri, Felix and Anna (Fejfar).” In History of Yankton County South

Dakota, edited by the Yankton County Historical Society. Dallas, TX: Curtis Media

Corporation, 1987.

Huey, William G. “Making Music: Brass Bands of the Northern Plains, 1860–1930.” North

Dakota History: Journal of the Northern Plains 54, no. 1 (Winter 1987).

Internet Broadway Database. “1492 up to Date or Very Near It.” Accessed January 10, 2015.

http://ibdb.com/production.php?id=496158.

98

Kenrick, John. “A History of the Musical.” Musicals 101. http://www.musicals101.com/

(accessed November 4, 2013).

Kingsbury, George W. History of Dakota Territory: South Dakota Its History and Its People,

edited by George Martin Smith. Vol. 1. Chicago, IL: S. J. Clarke, 1915.

Kirk, Elise K. American Opera. Urbana, IL: University of Illinois Press, 2001.

Krause, Herbert, and Gary D. Olson. Prelude to Glory: A Newspaper Accounting of Custer's

1874 Expedition to the Black Hills. Sioux Falls, SD: Brevet Press, 1974.

Lamb, Andrew. "Quadrille." Grove Music Online. Oxford Music Online. Oxford University

Press. http://www.oxfordmusiconline.com/subscriber/article/grove/music/22622 (accessed

December 29, 2014).

Mates, Julian. The American Musical Stage Before 1800. New Brunswick, NJ: Rutgers

University Press, 1962.

Ogasapian, John and N. Lee Orr. Music of the Gilded Age. American History through Music

Series. Westport, CT: Greenwood Press, 2007.

Ottenberg, June C. “New York and Philadelphia, 1825-1840: European Opera American Style.”

In Opera and the Golden West, edited John L. DiGaetani and Josef P. Sirefman, 78-96.

Cranbury NJ: Associated University Presses, 1994.

Philbrick, Nathaniel. The Last Stand: Custer, Sitting Bull, and the Battle of the Little Bighorn.

New York: Penguin, 2010.

Patinkin, Sheldon. No Legs, No Jokes, No Chance: A History of American Musical Theater.

Evanston, IL: Northwestern University Press, 2008.

Preston, Katherine K. “American Musical Theatre before the Twentieth Century.” In Cambridge

Companion to the Musical, edited by William A. Everett and Paul R. Laird. New York:

Cambridge University Press, 2002.

Preston, Katherine K. Opera On the Road: Traveling Opera Troupes in the United States, 1825-

60. Urbana, IL: University of Illinois Press, 2001.

Rolle, Andrew. Westward the Immigrants: Italian Adventurers and Colonists in an Expanding

America. 2nd Edition ed. Niwot, CO: University Press of Colorado, 1999.

Root, Deane L. American Popular Stage Music. 2nd ed. Ann Arbor, MI: UMI Research Press,

1981.

99

Root, Deane L. "Rice, Edward Everett." The New Grove Dictionary of Opera. Grove Music

Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline

com/subscriber/article/grove/music/O002917 (accessed June 26, 2014).

Schultz, Duane P. Custer: Lessons in Leadership. The Great Generals Series. New York:

Palgrave Macmillan, 2010.

Smith, Cecil A. and Glenn Litton. Musical Comedy in America. 4th ed. New York: Routledge,

1996.

Speedie, Penelope Ann. “American Operas On American Themes by American Composers: A

Survey of Characteristics and Influences. (Volumes i and Ii).” DMA diss., The Ohio State

University, 1991. Accessed December 18, 2014. ProQuest, UMI Dissertations Publishing.

Swan, Howard. Music in the Southwest 1825–1950. Los Angeles, CA: Anderson & Ritchie,

1952.

The Vinatieri Archive, National Music Museum (formerly known as The Shrine to Music

Museum), The University of South Dakota, Vermillion.

Vinatieri, Felix Samuel. The Thing and I. Rapid City, SD: Distributed by Mrs. Floyd Hansen,

1976.

Windolph, Charles. I Fought with Custer: the Story of Sergeant Windolph, Last Survivor of the

Battle of the Little Big Horn, as Told to Frazier and Robert Hunt, With Explanatory

Material and Contemporary Sidelights On the Custer Fight. New York: Scribner, 1947.

Whitman, Walt. Leaves of Grass. Enriched Classic. New York: Pocket Books, 2006.

“Our Band.” Yankton Daily Press and Dakotan 1, no. 23 (January 11, 1871): 3.

“There Are Several New Buildings in Course of Erection in Different Portions of

Yankton.” Yankton Daily Press and Dakotan 2, no. 14 (November 8, 1871): 3.

“The Band Concert.” Yankton Daily Press and Dakotan 2, no. 14 (November 8, 1871): 3.

“Complimentary Reception Ball.” Yankton Daily Press and Dakotan 3, no. 39 (April 30, 1873):

3.

“A Work in Music.” Yankton Daily Press and Dakotan 17, no. 52 (June 25, 1891): 3.

“Died, Obituary of Felix Vinatieri.” Yankton Daily Press and Dakotan 17, no. 190 (April 30,

1873): 1.

100

APPENDICES

101

APPENDIX A

Obituary of Felix Vinatieri as printed in Yankton Press and Dakotan, December 5, 1891.

Died

Vinatieri – In Yankton, On Saturday, December 5, 1891, Felix Villiet Vinatieri,

aged 57 years.

____

Prof. Felix Vinatieri died at about 4 o’clock this morning, after an illness of two weeks

with pneumonia. The disease seized him with every evidence of extreme violence; and its

progress, until it forced the life out of its victim, was steady and unfaltering. Three days ago,

Prof. Vinatieri became unconscious and he failed to recover speech. The spirit was wafted away

in the dark that’s just before the dawn, the members of the family being alone with the dying

father. This will be sad intelligence to a great many Yankton people. To know Prof. Vinatieri

thoroughly made appreciation of his genius imperative, and to appreciate those talents –was to

simply admire the man.

He is survived by a wife and eight children, who are left fairly well provided for.

Felix Villiet Vinatieri was born near the city of Naples, in Italy. His father’s name was

Villiet, but the mother married one Vinatieri, two years after the death of her first husband, and

the son Felix took the stepfather’s name, and has used it, as is noted above. The elder Vinatieri

was a maker of pianos and became quite widely celebrated for his success in that direction. Felix,

early, evinced a strong passion for music and his stepfather resolved to give the boy every

opportunity to perfect himself. Private tutors were engaged and at the age of 10 years old Felix

was proficient as a violinist. Subsequently, he took a university course and at 18 years was

considered one of the first musicians of that most musical section of earth. At 20 he was

directing a military band for his government, and shortly thereafter became very well-known as a

cornetist. He continued study for the next five years, and shortly before the first symptoms of the

war of the Rebellion in the United States, Felix Vinatieri came to America with his profession

for a fortune. He located in Massachusetts, near Lowell, and when the war broke out, he enlisted

in Massachusetts as a musician. This occurred on the 5th day of August 1861, and he was

mustered out of service on the 23rd of July, 1862, much broken down in health, and afflicted with

maladies which were his companions all the remainder of his life. In 1868, he came west and

located at Yankton. In 1871 he joined Gen’l George A. Custer’s command and became leader of

the 5th cavalry band. He was with the band for three years and during that time the organization

became nationally famous. In 1870 he married Miss Annie Fejfar, who accompanied him on his

military journeyings west and returned to Yankton with him in 1874. Since them the family has

resided here.

Prof. Vinatieri was a very eccentric man, of the strongest characteristics, and given to

profound thought. In his native Italian tongue he was well-versed, and his researches into

religious subjects extended over all the years of his life. He was an avowed atheist, but honorable

102

in all his relations toward his fellowman, and he was very much respected. Years ago, he

acquired property near Bismarck which proved unprofitable and he sacrificed it rather than

become more deeply involved. His salary for army services together with profits from published

musical compositions he allowed to accumulate, and at one time he was considered a very well-

to-do man. Of later years, however, he has made venturesome attempts at opera, which was long

the goal of his ambition, and such attempts have proved expensive. It seemed that his desire for

fame was about to be realized for he had just completed an opera which critics pronounced as of

the highest quality. To this work he has devoted the last ten years and his death seems doubly

untimely because he cannot achieve his hopes for success.

Prof. Vinatieri is well-known to all the orchestral directors and musicians of the United

States, and he had the respect and admiration of every one of that profession. They knew better

than anyone his ability as a composer, a performer, and a director, and considered him an artist.

For five years he been losing his strength and suppleness of arms, and he used to say with honest

sorrow that he could never play a violin again. He has brought much of the musical talent of

Yankton youth to the surface, and years ago he brought to a state of perfection the best brass

band Yankton has ever possessed. He was large-hearted, generous and genial, but with it all he

was thoroughly and always a teacher of music, insisting upon attention from his pupils.

Ability, genius, energy and companionship have passed with him into eternity.

Prof. Vinatieri was a member of Phil Kearney Post G.A.R., of this city, and was drawing

a pension from the government. He will be buried at 2p.m. tomorrow from his late residence on

Second street between Locust and Green streets. Phil Kearney Post will conduct the services, and

the Cement City band will attend.

103

APPENDIX B

Heart and Love or The American Enchanted Chair Cover

104

APPENDIX C

The Barber of the Reggement Cover

105

APPENDIX D

The American Volunteer Cover

106

APPENDIX E

Order of Musical Numbers in The American Volunteer

Act Scene Section Role Title

I 1 Chorus The Beauty of Spring is Coming

2 Duet Rosa & Lord Leiton Oh what a Fine Combination

3 Duet Tom & Minnie When two loves should pull apart

4 Duet Tom & Lord Leiton Then this Money is a Trap of Gold

5 Quartetto Minnie, Rosa, Tom, Lord Leiton Ah! Stop my Dear

6 Instrumental Washington Entrance Music

7 Duet Tom, Rosa Oh Dear my Sweet Love

8 Chorus Finale: The Army now is Marching

II 9 Overture

10 Sextet

Tom, Pilton, Leiton, Voblas, Brom, &

Matchet Where the Sweet Love is all Around

11 Solo Rosa Ah! What a Sweet Loving Charm

12 Recit & Duet Tom & Rosa The Secret at last did come out

III 13 Instrumental PreludioTemporale (all. Moderato)

14 Trio & Chorus Tom, Leitonm, Matchet, & Chorus There is the Home of all the Infidels

15

16 Instrumental Dance Egyptian Girls Stormy Morning

17 Quartetto Dora, Ado, Amelia, & Rosa You Here to take my Sweet Advice Now

18 Trio (Andante) Matchet, Pilton, & Voblas The Conspiracy

19 Instrumental Quadrille

20 Instrumental The Cyclone

IV 21 Instrumental Introduczione Infernale

21b Quartet and Chorus Dora, Rosa, Leighton, Brom, & Chorus Hell Song

Adaggio nontroppo

22 Instrumental Enter the Demons

23 Instrumental Tom Valz

24 Chorus Salvation Army Song

25 Septet & Chorus Tom, Pilton, Leighton, Matchet, Dora, I have hear a Voice

Amelia, Rosa, & Chorus

26 Instrumental The Transformation

27 Instrumental March Time(Reception of Dignitaries)

28 Instrumental Tom & Minnie Movement Music

29 Octet & Chorus Tom, Rosa, Voblos, Brom, Dora, Amelia, Oh Listen to me a Little While

Matchet, & Chorus

30 Company Brom, Voblas, Ada, Amelia, Leiton, Pilton, Finale: Flowers Spring beneath Their Feet

Matchet, Tom & Chorus