A Civil War Singalong

Diane Taraz presents the songs enjoyed during the Civil War era, selected to be especially easy for groups to join in and sing along. The music comes from both the North and the South, and reflects many aspects of American society in the mid-1800s. She dresses in period attire and accompanies herself on guitar and dulcimer.

Music was enjoyed by everyone from the lowliest field hand to the President of the United States. Sentimental songs of home and family abounded, along with irreverent ditties meant to amuse and entertain. Before the advent of radio and other communications, drum beats and bugle calls directed troops on the battlefield -- the Union army had 32,000 drums! -- and most regiments had their own bands. On numerous occasions bands were ordered to play during a battle, to rally the troops. And sometimes bands would engage in a musical contest the evening before a battle, as the two armies waited for dawn to begin the attack. The sides would alternate playing a favorite, each louder and more intensely patriotic than the last. Often they would play a final song together -- "Home, Sweet Home" -- expressing their universal wish that they could be home and safe rather than facing violent death.

Composers churned out song after song to satisfy the demand for music to raise morale and further the cause. Just two days after the conflict began with the bombardment of Fort Sumter, George Root wrote "The First Gun Is Fired." Root would go on to write 35 wartime songs. In a letter to Root, Abraham Lincoln wrote, "You have done more than a hundred generals and a thousand orators." Lincoln loved music and was fond of minstrel shows and other entertainments. At concerts he frequently requested "La Marseillaise," "Yankee Doodle," and "Dixie."

Every time a new regiment arrived in Washington, it hoped to parade down Pennsylvania Avenue to the drums of its marching band, to be reviewed by the president. Other groups also serenaded Mr. Lincoln: On May 31, 1864, some 4,000 Sunday School children marched past the White House, singing away, as Abe stood smiling at the window. Lincoln aide William Stoddard noted that "in the spring of 1861 you could go up any street, past almost any house, and from the open windows you could hear the unwearied piano, in tune or out of tune, digging away at 'Maryland, My Maryland,' 'The Bonny Blue Flag,' or 'Dixie,' until the day when the Twelfth New York marched down Pennsylvania Avenue with a full brass band, expressing the wish of the regiment that they were 'in Dixie.' "

Among the songs Diane will sing are:

Dixie's Land, possibly written by Daniel Emmett, a northerner from Ohio in 1859. Published in 1859, Emmet claimed to have been taught the song by a family of free black entertainers, the Snowdens. Emmett's minstrel show debuted the song and its popularity spread rapidly. The song became the unofficial anthem of the Confederate States of America, despite its creation in the North. It was one of Abraham Lincoln's favorites, and when he heard of Lee's surrender at Appomattox, he asked the military band to play "Dixie." He said, "That tune is now Federal property and it is good to show the rebels that, with us in power, they will be free to hear it again."

The Battle Cry of Freedom, another George Root favorite, perfect for singing along.

Froggie Went a-Courtin', pure fun, this ditty nevertheless reflects the reality of many families during this time of frequent mortality-- an orphan is courted by a well-armed suitor, with a sword and pistol, and on horseback, and her uncle is delighted to get her off his hands. How the frog suitor could ride a horse is not explained; Miss Mousie did not care!

Battle Hymn of the Republic, Julia Ward Howe's 1862 anthem, inspired many, including President Lincoln, who often requested it at concerts.

Grafted Into the Army, by Henry Clay Work, an 1862 song with an odd mix of pathos and humor. A widow laments that her last remaining son has been "grafted," and has marched off "drest up in his unicorn, dear little chap." Her choice of almost the right word is funny, but her situation is tragic.

The Blue-Tailed Fly, one of Lincoln's favorites, in which a slave unexpectedly wins a round. Abe called it "that buzzing song" and probably played it on his harmonica.

When Johnny Comes Marching Home, adapted by Patrick Gilmore in 1863 from an old Irish lament. Gilmore exchanged the despair and scorn of the original for patriotic fervor and joy at a soldier's return.

Goober Peas, a popular Southern ditty making light of the South's short rations, whose soldiers were often reduced to dining on only a handful of peanuts. The final verse indicates that goober peas were the Spam of their day.

Sixty-Three is the Jubilee, by J.L. Greene and D.A. French, celebrating the Emancipation Proclamation and the coming of freedom.

Tenting Tonight, an 1864 composition by Walter Kittredge that captures the soldier's longing for home and peace.

Home, Sweet Home, enjoyed by both sides, who could agree that "there's no place like home."

References:

Mark Schmidt, Winslow House, Marshfield. 781-837-5753, mark.schmidt@winslowhouse.org
Diane presented Songs of the Revolution at Winslow House in Marshfield in August 2010.

Susan Bennett, Executive Director, Lexington Historical Society. 781-861-9568, susan.bennett10@verizon.net

Reviews:

"Thank you so much for one of the best programs we have ever had. Your narration about the songs was priceless, and your lovely voice a treat."
-- Joyce Hawkins, Sheffield Historical Society, joyross99@verizon.net

"I knew when you agreed to do the program for us that we would have an enjoyable evening of music. I did not realize that we would be treated to an absolutely wonderful history lesson, delivered with a teaspoon of sugar that made it go down with ease. It was an incredible evening. We all appreciated your taking us back in time."
-- Terry Barry, Friends of the Robbins Library, Arlington, Mass.

"Her voice is truly exquisite, and her rapport with the audience warm and engaging."
-- Mike Harde, Westford Historical Society A Civil War Sing-along is usually a one-hour program, although it can be shorter or longer as needed. The fee is flexible and depends partly on travel time and program length, starting at $100 or $150. To book this enjoyable and educational performance, call Diane at (781) 648-3719 or e-mail her at diane@dianetaraz.com.