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Miscellaneous Alleghanians-Connected Music

Glory to God Alone

"Glory to God Alone: From the Oratorio of David." Lyrics: Rev. John Webb. Music: The Chevalier Sigismond Neukomm. New York: Firth & Hall. [1832-1847?].

• "As sung by William H. Oakley."
• These first scores are from the Alleghanians' prehistory, and at present there is no way to even get started on assigning them to a specific year.  Thus, they are given in alphabetical order.
• The sheet music for "Glory to God Alone" is in the collection of the University of Michigan library.

My Bark Is on the Waters Bright

"My Bark Is on the Waters Bright." Lyrics: Author unknown. Music: J. M. B. First line of text: "My Bark is on the waters bright, O'er billows dancing free." Boston: C. Bradlee.   [ 1835-1836? ].

• The hardcopy score of "My Bark Is on the Waters Bright" is available at the Newberry Library in Illinois and at the library of the University of Michigan.  This sheet music is also available online in puzzlingly-small scanned images at the Web site of the Lester S. Levy Collection of Sheet Music.  The Levy site-search device located this score easily, in a March 28, 2007 search on the song's title and also on the composer's initials but only when the initials were separated by spaces.
• I am quite convinced that the J. M. B., who is credited with the music for "My Bark Is on the Waters Bright," is the same person as James M. Boulard who, later, was a founding member of the Alleghanians.  James M. Boulard often did go by his initials, "J. M. B."   Boulard, an eastern Massachusetts native, was based in Boston  -  where this score was published  -  before settling in New York.  His public experience in the field of music is known to date back to his Boston days.  Lyrics of this sort were right up his line.

The Heavenly Tidings

"The Heavenly Tidings: A Sacred Song." Lyrics: W. Lillinghuast. Music: William H. Oakley. New York: Firth & Hall. 1840.

• After several searches of huge databases of names, no independent evidence has come to light for Lillinghuast being an actual surname.  Lillinghurst seems the most likely alternative, and evidence for it being in use as a surname is very slight, though there is some.  So either this lyricist had a truly rare surname or some mistake has been made.  The name, tentatively, should probably be taken to be W. Lillinghurst.
• "The Heavenly Tidings" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   A March 27, 2007, search of the American Memory Web site, on this song's title, produced 132 hits.  Mercifully, the score, "The Heavenly Tidings," was at the top of the list.

The Response

"The Response: A Serenade." Lyrics: W. H. Bellamy. Music: Charles F. Desanges. First line of text: "Yes love, I hear thee." New York: Jaques & Brother. [ 1847-1852? ].

• In this instance, as in a few other cases, the cataloguer for some reason thought Carrie Hiffert's name was Catherine Hiffert.  Any explanation would be pure guess work.
• A copy of this score is among the holdings of the library of the University of Pittsburgh.

Perham's Opera House Schottisch

"Perham's Opera House Schottisch."  Music: F. Stoepel.  New York: Horace Waters.  1855.

• As a member of the Alleghanians, F. Stoepel went by the name, Frank Stoepel.  Otherwise, sources vary as to what the initial "F" stands for.  Franz Stoepel may be the most common way his name is given except during his Alleghanians days.  Do you know what became of Frank Stoepel and his family after his time with the Alleghanians?   If you do know and you would be willing to share your information, please e-mail us by way of the contact link toward the bottom of the webpage.   A son turns up in various records evidently starting many years later; but at present, this is all I know.
• "Perham's Opera House Schottisch" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   An April 4, 2007, search of the American Memory website, on this song's title, took me straight into the first part of the American Memory record of "Perham's Opera House Schottisch."   What could be simpler?

The Western Trapper's Camp Song

"The Western Trapper's Camp Song." Lyrics: George P. Burnham. Music: Francis H. Brown. New York: Firth, Pond & Co. 1856.

• "As sung by Francis H. Browns concert troupe, also by Miss C. Hiffert."
• "The Western Trapper's Camp Song" is in the collections of libraries at the University of Colorado at Boulder and the University of Tulsa.

The Days When We Were Young

"The Days When We Were Young: Ballad."  Music: Fred Buckley.  New York: Firth, Pond & Co.   1857.

• A transient Web posting credited both lyrics and music to Frederick Buckley of Buckley's Serenaders.   I have never actually seen the first page of this score, so I have no idea what it says.  But the cover, which I have seen, says, "Composed by Fred. Buckley," and does not include a credit for the lyrics.
• "Sung by Miss C. Hiffert at Buckley's Opera House Broadway N.Y."
• The history of Buckley's Serenaders and the Buckley family groups by whatever name is beyond the scope of this work.  But nothing could be more obvious than that this troupe was flying very high in the years 1856 and 1857, and evidence is mounting that Carrie Hiffert was a really important part of the Buckley company in those peak years.

I Wish Somebody'd Come

"I Wish Somebody'd Come: Song." Lyrics: Author unknown. Music: J. R. Thomas. First line of text: "The flow'rs are blooming on the lawn, The birds are singing free." New York: Firth, Pond & Co. 1857.

• "Sung by Miss Caroline Hiffert at Buckley's Opera House New York."
• The copyright notice on the first inside page says 1857.  The copyright notice on the cover says 1856 or possibly 1858 but definitely eighteen fifty not-seven.  The Copyright Office copy was deposited March 19, 1857.  This score is copyright 1857.
• "I Wish Somebody'd Come" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   An April 1, 2007, search of the American Memory website, on this song's title, produced 259 hits.  "I Wish Somebody'd Come,", as printed sheet music, was represented in the first four hits on the list.  If your later search should produce less favorable results, you may want to try searching on the title with the word, song, at the end.

Let Not the Sun Go Down on Your Wrath

"Let Not the Sun Go Down on Your Wrath: Sacred Song." Lyrics: Eliza Cook. Music: Frederick Buckley. First line of text: "Father forgive us is our daily pray'r, When the worn spirit feels its helpless dearth." New York: Wm. Hall & Son. 1857.

• "Sung by Miss C. Hiffert."
• Carrie Hiffert was a long-time member of the Alleghanians.  In the years 1856 and 1857, though, she sang in Buckley's Serenaders productions at the new, much-admired Buckley's Opera House in New York City.  Members of the Buckley family operated a highly unusual minstrel company, to say the least; and one striking feature of their programming was sacred concerts on Sundays.  "Let Not the Sun Go Down on Your Wrath"  -  "Sung by Miss C. Hiffert"  -  must have been composed with those sacred performances in mind.
• "Let Not the Sun Go Down on Your Wrath" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   A March 27, 2007, search of the American Memory Web site, on this song's title, produced seventeen hits.  The score, "Let Not the Sun Go Down on Your Wrath," was at the top of the list.

Let the Harp Be Mute Forever

"Let the Harp Be Mute Forever: Ballad." Lyrics: Author unknown. Music: Frederick Buckley. First line of text: "Let the Harp be mute forever Rosa wakes no more the strain." New York: G. B. Demarest & Co. 1857.

• "Sung by Miss Caroline Hiffert."
• "Let the Harp Be Mute Forever" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   An April 2, 2007, search of the American Memory Web site, on this song's title, produced two hits.  The score, "Let the Harp Be Mute Forever," was at the top of the list.

Our Union Right or Wrong

"Our Union Right or Wrong: A National Song." Lyrics: S. S. Steele. Music: Frederick Buckley. First line of text: "Rouse, hearts of Freedom's only home! Hark to disunion's cry." New York: Firth, Pond & Co. 1857.

• Silas S. Steele.
• "Sung with great success by Miss Hiffert at Buckley's Opera House 585 Broadway."
• "Our Union Right or Wrong" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   An April 5, 2007, search of the American Memory website on the score's full title  -  our union right or wrong a national song  -  produced twenty-seven hits.  The score, "Our Union Right or Wrong: A National Song," was first on the hitlist.

Smile Again

"Smile Again." Lyrics: Author unknown. Music: Fred Buckley. First line of text: "Smile again; that look of sadness ne'er should cloud thy beauteous face." New York: Firth, Pond & Co. 1857.

• "Smile Again" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   A March 30, 2007, search of the American Memory website, on the name of this song's composer, Fred Buckley, produced thirty-six hits.  The score, "Smile Again," was fourth on the hitlist.  Searches on the song's title and first line of text produced exasperatingly long hitlists, and it seems readily apparent that searching on Fred Buckley's name is the way to go.

We Parted at the Twilight Hour

"We Parted at the Twilight Hour." Lyrics: E. C. Loomis. Music: Frederick Buckley. First line of text: "We parted at the twilight hour." Troy, NY: E. P. Jones. 1857.

• "Sung by Miss C. Hiffert at Buckleys Opera House, 585 Broadway."
• Carrie Hiffert was a long-time member of the Alleghanians.  At New York City in the years 1856 and 1857, though, she sang in Buckley's Serenaders productions at the new Buckley's Opera House.  "We Parted at the Twilight Hour" is one of the songs she sang during her time with this highly regarded Buckley family minstrel company.
• "We Parted at the Twilight Hour" is available at "American Memory From the Library of Congress," each page of the score being presented as a scanned image.   A March 26, 2007, search of the American Memory Web site, on this song's title, produced thirty-eight hits, and the score, "We Parted at the Twilight Hour," was at the top of the list.

Why Do We Mourn for the Past

"Why Do We Mourn for the Past: Ballad." Lyrics: C. Hart. Music: Frederick Buckley. First line of text: "Oh why should we sigh For moments gone by." New York: Firth, Pond & Co. 1857.

• It seems quite likely that the C. Hart who wrote the lyrics for "Why Do We Mourn for the Past" is the same person as the Charles Hart who is known to have worked with Frederick Buckley.
• "Why Do We Mourn for the Past" is available at "American Memory From the Library of Congress," each page of the sheet music being presented as a scanned image.   An April 3, 2007, search of the American Memory website, on this song's title, produced forty hits.  "Why Do We Mourn for the Past,", as printed sheet music, was at the very top of the hitlist.

Morris Cadets Quick Step

"Morris Cadets Quick Step."  Music: W. H. Oakley.  Boston: Oliver Ditson & Co.  1858.

• Several Alleghanians were quite diverse talents.  William H. Oakley seems to have been one of them.
• A copy of "Morris Cadets Quick Step" is among the holdings of the University of Michigan library.

Farewell of the Neptune Yacht Club

"Farewell of the Neptune Yacht Club." Lyrics: Violet Fuller. Music: Frank L. Benjamin. First line of text: "Farewell, friends, the tie that bound us, Now, alas! must severed be." New York: Charles W. Harris. 1871.

• Title on first inside page: "The Neptunes' Farewell."
• "Farewell of the Neptune Yacht Club (of South Norwalk, Conn.) Song and Chorus As sung at their entertainments by Messrs. Spinning, Wilcox, Disbrow and Benjamin."  The Spinning named here could be Frank Benjamin's old singing partner, Samuel B. Spinning.  But probably Samuel B. was too busy with his Hutchinson Family touring duties to get back to Connecticut often to sing with this vocal group.  Some other member of the musical Spinning clan seems more likely.  If you know which Spinning was part of this quartet or if you know anything about Disbrow and Wilcox and you would be willing to share your information, please e-mail us via the contact link toward the bottom of the Web page.
• Evidently Frank L. Benjamin was a highly-educated and accomplished musician, though actually we are told very little about his early personal and professional history.  Benjamin and Samuel B. Spinning came to the attention of the Hutchinsons at a time when that family was divided into two main vocal groups, the Tribe of John and the Tribe of Asa.  Strange to say, it was John W. Hutchinson  -  who had a life-long reputation for accomplished thriftiness  -  who offered Benjamin and Spinning the most money to sing with his company.  Frank Benjamin did not stick long with the Hutchinsons.  There is a gap in what is known about his life and work, running from his departure from the Tribe of John up to the time he became the Alleghanians musical director.  Benjamin's singing adventures with Disbrow, Spinning, and Wilcox would seem to fall neatly into this gap.
• "Farewell of the Neptune Yacht Club" is available at "American Memory From the Library of Congress," each page of the score being presented as a scanned image.   A March 29, 2007, search of the American Memory Web site, on  -  the neptunes farewell  -  in keeping with the Library of Congress' idea of this song's title, produced five hits, and the score, which I call "Farewell of the Neptune Yacht Club," was at the top of the list.

Trial by Jury Waltz

"Trial by Jury Waltz."  By Albert H. Fernald.  Boston: Oliver Ditson & Co.  1876.

• "Introducing the Song of the Judge and the Love Sick Boy."
• Great title.
• "Trial by Jury Waltz" is available at "American Memory From the Library of Congress," each page of the score being presented as a scanned image.   An April 15, 2007, search of the American Memory website on this song's title produced three hits and the score, "Trial by Jury Waltz," came in second on the list.

Mountain Breezes

"Mountain Breezes: Polka Redowa."  By Albert H. Fernald.  Boston: Oliver Ditson & Co.  1882.

• Whether Boston and Portsmouth pianist Albert H. Fernald was a member of the Alleghanians or was strictly a tour accompanist, nonetheless he was with the group for a significant period of time and took part in the troupe's adventures.  Before signing on with the Alleghanians, he was on the bill of a New York City show which featured, in addition to himself, the then-current agent of the Alleghanians plus two future husbands of Alleghanians.  If this was mere coincidence, it was an amazing coincidence.
• A copy of this "Mountain Breezes" score is at Texas Wesleyan University, E. & J. L. West Library.

Our Wedding Tour

"Our Wedding Tour: Waltzes."  By C. S. Packard.  San Francisco: A. Waldteufel.  1884.

• Chet Packard's mother, who we know as Marie Packard of the Alleghanians, said in a June 1, 1895, letter to niece Florence Chipman that this piece was then in its third edition and that it had been played by theater orchestras all across the United States.
• If you know the middle name of this Chester S. Packard and you would be willing to share your information, please e-mail us by way of the contact link toward the bottom of the webpage.
• "Our Wedding Tour" is available at "American Memory From the Library of Congress," each page of the score being presented as a scanned image.  A March 31, 2007, search of the American Memory Web site, on this song's title including the word, waltzes, produced three hits.

The Poster

The Poster.  "A Satirical Musical Travesty."  Book by John P. Wilson and L. G. Carpenter.   Music by Chester S. Packard.  San Francisco: S.n.  1898.

• Information used in the above citation comes from Gerald Bordman, American Musical Theatre: A Chronicle, 3rd ed. (New York: Oxford University Press, 2001), 182.  If you could put us in specifically e-mail contact with Gerald Bordman, we would greatly appreciate it.  Our own e-mail address, for anything having to do with the Hutchinson Family or the Alleghanians, is available by way of the contact link toward the bottom of the Web page.

J. B. Packard

Songs of Canaan

J. B. Packard and S. Hubbard. Songs of Canaan; or, The Millenial Harmonist. Boston: D. S. King, and Saxton & Pierce. 1842.

• Songs of Canaan  is available at Boston University School of Theology, Brown University, Emory University Pitts Theological Library, Harvard University Loeb Music Library, Loma Linda University, and the University of Oxford.

Musical Gems

J. B. Packard and Stephen Hubbard. Musical Gems: A Collection of Hymns and Tunes Adapted to All Occasions of Social Devotion. New York : Lane & Scott. 1849.

• Earlier editions of this hymnal, Musical Gems, were published; and at least one edition, dated 1847, is widely-held enough for our purposes.  A copy at Brown University basically ensures that much.  But various library records show a change in pagination, suggesting that the 1849 edition may be substantially longer and more complete than those that came earlier.  This is why I am citing the 1849 edition here.  Copies are among the holdings of several libraries frequently named in this bibliography of scores, such as Brown University, the Eastman School of Music, and the Newberry Library, as well as at Drew University and the Pitts Theological Library of Emory University.

The Spirit Minstrel

J. B. Packard. The Spirit Minstrel; a Collection of Hymns and Music, for the Use of Spiritualists, in Their Circles and Public Meetings. Boston: Bela Marsh. 1853.

• This 1853 edition of The Spirit Minstrel  is among the holdings of the Library of Congress.  Later editions are more widely held and may be found at the Boston Athenaeum and the Harvard University Divinity School Library, as well as at the libraries of Tulane University in Louisiana and the University of New Mexico.

What Sounds So Sweet Awake Me; or, The Spirit's Serenade

"What Sounds So Sweet Awake Me; or, The Spirit's Serenade."  As sung by the Excelsior Vocalists.  New York: Horace Waters.  1854.

• A song called "The Child's Vision" begins with the line, "What sounds so sweet awake to me."  Notice a one-word difference.  It is early yet, but I wonder whether "The Spirit's Serenade" should read the same way.
• Though members of the Excelsior Vocalists were based variously in southern New Hampshire and in the Boston area, it probably makes most sense to think of this as a southern New Hampshire company.  On the one program I have seen which lists group members, J. B. Packard was named as the bass singer.  Available evidence tells that this ensemble flourished in the years 1853 to 1855.  There is probably some "give" on either end of this year range; but because of the exceptional youth of Miss M. E. Durgin, the featured vocalist, it is doubtful the Excelsior Vocalists began singing out much if any earlier than 1852.  This outfit is a mystery only to the extent that I first learned of the group, itself, at the end of the long winter of 2007.  Names of all the members  -  with the lone exception of Miss A. W. Robinson, contralto  -  were already known to me.  As Carol Brink might say, this group was not without its importance to the history of the Alleghanians.
• The only copy known to me of "What Sounds So Sweet" is at the library of the University of Michigan.  We are indebted to a massive cataloguing project going on there for these delicious morsels of Excelsior Vocalists information.

The Festival of Beauty

"The Festival of Beauty."  By J. B. Packard and D. S. Pennel.  Philadelphia: S.n. 1855.

• This 1855 edition of "The Festival of Beauty" is among the holdings of the University of Minnesota library.

The Festival of Beauty; or, An Evening in Fairy Land

"The Festival of Beauty; or, An Evening in Fairy Land." By J. B. Packard. Philadelphia: Craig. [1880-1889?].

• Between Worldcat records and those in the catalogs of the two Worldcat libraries which currently hold this title in the original hardcopy, no information is available as to why it was thought that this publication dates from the 1880s.  "The Festival of Beauty," itself, originated no later than the mid-1850s.  If it was republished so long after the death of J. B. Packard, this would be of real interest.  Also, my understanding is that D. S. Pennell, who is often associated with Boston, was one of the creators of this work.  For a source, see the 1855 score citation above.

Just Try To Cut a Swell

"Just Try To Cut a Swell: Song and Chorus, or Quartette." Lyrics: "My Pen." Music: "The Holder." First line of text: "Why, what's the use of talking, If things don't go right well?" Buffalo: J. Sage & Sons. 1855.

• This score's cover gives the song's title as "Just Try To Cut a Swell; or, What's the Use of Talking."  The cover goes on to say, "Sung with great applause by the Amphions & Excelsior Vocalists."  This score is cited here because J. B. Packard was a member of the Excelsior Vocalists.
• Several pieces of evidence exist to the effect that J. B. Packard may not have had a standard-issue sense of humor.  It is one reason I think he wrote this song.  The copyright notice, viewed from this machine and from available public-access computers, is illegible.  Aside from observing a certain uncommonness in Packard's sense of humor, which seems to match this score's songwriter credits, I have no more information to go on than anyone else.
• "Just Try To Cut a Swell" is available at "American Memory From the Library of Congress," each page of the score being presented as a scanned image.  A March 22, 2007, search of the American Memory Web site, on this song's title, produced a single hit.  "Just Try To Cut a Swell" is also available at the Web site of The Lester S. Levy Collection of Sheet Music.

Ella Lee

"Ella Lee: Song of the Southern Land." Lyrics: Author unknown. Music: J. B. Packard. First line of text: "Lay her where the woodbine clingeth To the dark magnolia tree." Boston: Oliver Ditson & Co. 1857.

• The Barker Family sang these verses in a version, set to music by Nathan Barker, titled "Fair Ella Lee" which dates from no later than 1852.

The One Key Singer

J. B. Packard. The One Key Singer: A Collection of Hymns and Tunes for the Use of Sabbath Schools and Juvenile Singing Schools. Boston: O. Ditson. 1860.

• J. B. Packard's One Key Singer is among the holdings of the Boston Public Library, Brown University, the C. Fowler Library at Colorado Christian University, the Pitts Theological Library at Emory University, Goshen College, and the Harvard University Divinity School library.

Stand by the Flag

"Stand by the Flag: Song and Chorus." Lyrics: Frank Bert. Music: J. B. Packard. First line of text: "Stand by the flag! let not one star Be dim'd by foeman's hand." First line of chorus: "Stand by the flag! let not one star Be dim'd by foeman's hand." Boston: Oliver Ditson & Co. N.d.

• "Stand by the Flag" is available at the Web site of The Lester S. Levy Collection of Sheet Music.

The Soldier's Burial

"The Soldier's Burial." Attributed to C. R. Packard. Lyrics: M. W. Packard. Arranged by J. B. Packard. Chicago: H. M. Higgins. 1865.

• Long-time Alleghanians advance agent and manager D. G. Waldron once made a mysterious reference to "the Packard Brothers of the west, acknowledged the very 'embodiment and soul of music.'"  These Packards, I believe, are them.
• "The Soldier's Burial" is among the substantial collections of the library at the University of Virginia.

Florence Ednah Chipman

Miralda

Miralda: A Comic Opera in Three Acts. "Founded on Saxe's poem of the same name." Libretto: Thomas L. Marble. Music: Florence E. Chipman.  Libretto: Gorham, NH: Weston, Printer, 1900.  Music: May be manuscript only.  This work was introduced to the public on Tuesday, August 21, and Wednesday, August 22, 1900, at the Opera House in Gorham, New Hampshire.

• Miralda: A Comic Opera in Three Acts was based on John G. Saxe, "Miralda: A Tale of Cuba," first line: "In Cuba, when that lovely land," 1889.

The Saviour's Command

"The Saviour's Command: Sacred Song." Lyrics: T. L. Marble. Music: Florence Ednah Chipman. London: B. F. Wood Music. 1902.

• The only copy of "The Saviour's Command," known to me, in institutional holdings is at the University of North Texas.

An Evening Love Song

"An Evening Love Song." Lyrics: C. Bingham. Music: Florence Ednah Chipman. Boston: B. F. Wood Music Co. 1903.

• Clifton Bingham.
• "A melodious little song that offers no difficulties to either singer or accompanist of moderate powers.  It can be had in three keys that will suit most voices."  From a clipping preserved and provided by Florence E. Chipman's family.
• Evidently this piece was subsequently reissued,  bearing a 1905 date.  The following item may explain why:
• "Among the love songs of the better class 'An Evening Love Song' has won high rank in England as well as in this country.  With its new text [ by Clifton Bingham ] this excellent song is even more effective than before."  Source: "An Evening Love Song," The B. F. Wood Music Co., Boston, London, New York, advertisement preserved and supplied by Florence E. Chipman's family.

Sweet, Appear

"Sweet, Appear!: Serenade." Lyrics: Thomas Littlefield Marble. Music: Florence Ednah Chipman. First line of text: "Beneath your window, dear, My love in song I tell." Chicago: Clayton F. Summy Co. 1905.

Triumphant Strains Arise

"Triumphant Strains Arise." Lyrics: Helen Blanche Foster. Music: Florence Ednah Chipman. Boston: B. F. Wood. 1905.

• The only copy of "The Saviour's Command," known to me, in institutional holdings is at the University of North Texas.

While the Stars Shine

"While the Stars Shine: Lullaby."  Lyrics: H. B. Foster.  Music: Florence Ednah Chipman.  Chicago: Clayton F. Summy Co.  1905.

Why Do I Love You

"Why Do I Love You?: Song."  Lyrics: T. L. Marble.  Music: Florence Ednah Chipman. 1905.

Melody in A Flat

"Melody in A Flat."  For Piano.  By Florence Ednah Chipman.  Philadelphia: Hatch Music Co.  [ 1907 ].

• "Mrs. [Florence Chipman] Berwick is rapidly making a reputation for herself by her musical compositions and has already risen high in her profession as [a] violinist, being perhaps the best known in her line not only in New Hampshire but in Maine and throughout the New England States.  Mrs. [Berwick's] two latest publications are two piano solos, Second Mazurka, and Melody in A Flat, published by the Hatch Co. of Philadelphia.  Mrs. Berwick's many friends in Portland will be pleased to know of her success."  From a clipping preserved and supplied by Florence Ednah Chipman's family.
• See the related note in the "Second Mazurka" entry below.

Say You Love Me

"Say You Love Me!: Song." Lyrics: Edward Oxenford. Music: Florence Ednah Chipman. First line of text: "Dearest, my world is dark with doubt, I know not what to do." New York: Wm. A. Pond & Co. 1907.

• "A new song by Florence Ednah Chipman (Mrs. Henry M. Berwick) has been issued recently from the publishing house of William A. Pond of New York.  The song is entitled 'Say You Love Me,' and the words are by the well-known English writer, Edward Oxenford.  The song is very melodious both in words and music, and deserves wide popularity."  From a clipping which was saved and supplied by Florence E. Chipman's family.

Second Mazurka

"Second Mazurka."  For Piano.  By Florence Ednah Chipman.  Philadelphia: Hatch Music Co.  1907.

• "Among the recent publications of the Hatch Music company of Philadelphia are two piano selections by Florence Ednah Chipman (Mrs. Henry M. Berwick) of this place.  Although Mrs. Berwick has published many well-known and interesting songs, these are the first instrumental numbers which she has given to the public.  They are entitled 'Melody' and 'Second Mazurka.'  The former is very sweet and tuneful, while the latter, with its capricious accent and peculiar r[h]ythm, possesses in a marked degree the fantastic spirit of the Polish dance."  From a clipping which was saved and supplied by the family of Florence Ednah Chipman.
• See the related note in the "Melody in A Flat" entry above.

Songs for Little Singers

Songs for Little Singers. By Helen Blanche Foster (Lyrics) and Florence Edna Chipman (Music). New York, Boston: J. L. Hammett Co. 1907.

• "JUVENILE MUSIC.   A very attractive little book, entitled 'Songs for Little Singers,' has been issued recently from the press of the J. L. Hammett Music company of New York and Boston.  The music is by Florence Ednah Chipman (Mrs. Henry M. Berwick) of this place; the words by Helen Blanche Foster of Boston.  The volume contains fifty pages, comprising twenty-four musical numbers designed primarily for kindergarten work.  Both words and music are admirably suited to childish tastes, and the work should prove extremely popular among little [ in a photocopying mishap, the last word or the last few words were covered by another clipping ]."   "Juvenile Music," S.l.: S.n., N.d., from a clipping preserved and supplied by Florence E. Chipman's family.
• Songs for Little Singers is catalogued as a score, but it seems more like a slender songbook.
• The copy of Songs for Little Singers that I know about is at the library of Brown University.

A Drinking Song

"A Drinking Song: Song."  Lyrics: H. M. Berwick.  Music: Florence Ednah Chipman.  1909.

In Lover's Land

"In Lover's Land: Song."  Lyrics: H. M. Berwick.  Music: Florence Ednah Chipman.  Boston: B. F. Wood Music Co.  1909.

Peace to the Earth

"Peace to the Earth."  Lyrics: H. B. Foster.  Music: Florence Ednah Chipman.  1909.

How Excellent Thy Name

"How Excellent Thy Name: Anthem."  Lyrics: T. L. Marble.  Music: Florence Ednah Chipman.  1910.

The Saviour's Birth

"The Saviour's Birth: A Christmas Cantata." Lyrics: Thomas Littlefield Marble. Music: Florence Ednah Chipman. Boston: White-Smith. 1911.

• "A fine work for any Choral Society or Chorus Choir.  The music melodious and modern in tendency, the choral work being very interesting.  No better work can be found for production during the Christmas season."  Source: From a clipping provided by a Florence Ednah Chipman descendant.
• A copy of this printed sheet music is in the collection of St. Olaf College in Minnesota.