Table Of ContentMusic of the
NEW
AMERICAN
NATION
Sacred Music
From 1780 To 1820
KARL KROEGER, GENERAL EDITOR
University of Colorado at Boulder
Contents of the Series
1. Amos Bull (1744-1825) 8. Two Connecticut Composers
The Collected Works The Collected Works of
Asahel Benham (1754-1803)
2. Three Connecticut Composers Merit Woodruff (1780-1799)
The Collected Works of
Oliver Brownson (1746-1815) 9. Jacob French (1754-1817)
Alexander Gillet (1749-1826) The Collected Works
Solomon Chandler (1756-ca. 1804)
10. Joseph Stone (1758-1837)
3. Three New York Composers The Collected Works
The Collected Works of
Lewis Edson (1748-1820) 11. Samuel Babcock (ca. 1760-1813)
Lewis Edson Jr. (1771-1845) The Collected Works
Nathaniel Billings (fl. 1794-1795)
12. Samuel Holyoke (1762-1820) and
4. Elias Mann (1750-1825) Jacob Kimball (1761-1826)
The Collected Works Selected Works
5. Supply Belcher (1751-1836) 13. Oliver Holden (1765-1844)
The Collected Works Selected Works
6. Abraham Wood (1752-1804) 14. Daniel Belknap (1771-1818)
The Collected Works The Collected Works
7. Two Vermont Composers 15. Two Connecticut Composers
The Collected Works of The Collected Works
Elisha West (1752-ca. 1808) Eliakim Doolittle (1772-1850)
Justin Morgan (1747-1798) Timothy Olmsted (1759-1848)
VOLUME 10
JOSEPH STONE
The Collected Works
Edited by
KARL KROEGER
§ Routledge
c
s
o Taylor & Francis Group
New York London
First published 1996 by Garland Publishing, Inc.
This edition published 2013 by Routledge
711 Third Avenue, New York, NY 10017, USA
2 Park Square, Milton Park, Abingdon, Oxon 0X14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © 1996 by Karl Kroeger
Library of Congress Cataloging-in-Publication Data
Joseph Stone: the collected works / edited by Karl Kroeger.
(Music of the new American nation; 10)
ISBN 0-8153-2407-3
Musical scores are "out of scope" at the Library of Congress' Cataloging-in-Publication program.
Table of Contents
Introduction to the Series vii
Works Cited ix
Performance Practice xi
Editorial Policy
XV
Introduction to this Volume xxi
The Collected Works of Joseph Stone 1
Abbreviations and Short Titles 97
Commentary 99
Index of First Lines 105
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Introduction to the Series
This series presents the music of early American Three particularly prolific composers, Samuel
composers of sacred music—psalmody, as it was Holyoke, Jacob Kimball, and Oliver Holden, are only
called—in collected critical editions. Each volume represented by selected works. Some criteria used in
has been prepared by a scholar who has studied the selecting their pieces to be included here are: which
musical history of the period and the stylistic quali works were popular and influential in the
ties of the composer. The purpose of the series is to composer's own day, and which works represent
present the music of important early American com music of significant artistic merit. Composers who
posers in accurate editions for both performance and already have collected works editions either in print
study. Until now, much of this repertory has been or in progress, William Billings, Daniel Read, Timo
unavailable except in the original tunebooks in thy Swan, and Stephen Jenks, have not been included
which the music was first issued. These are difficult in this series.
to use because of their age and fragility, the antique
The volumes in this series by no means exhaust
layout of the musical typography, and frequent
the repertory. A number of significant composers of
printing errors that beset the music and text. While
the era could not be represented, among them Amos
the music is presented here in modem musical or
Albee, William Cooper, Samuel Capen, Ebenezer
thography, no attempt has been made to improve it.
Child, Benjamin Holt, Solomon Howe, Jeremiah
Suspected typographical errors have been corrected
Ingalls, Walter Janes, Abraham Maxim, Hezekiah
(and noted in the commentary), but what may be
Moors, James Newhall, Warwick Palfray, Amos
thought of as compositional errors—parallel fifths
Pilsbury, Zedekiah Sanger, Oliver Shaw, Nehemiah
and octaves, for example—are an important part of
Shumway, Samuel Thomson, and Truman Wetmore.
the musical style and have not been tampered with.
Most published tunebooks containing their own
The twenty-three composers represented in this music and that of colleagues. However, the twenty-
series were among the most important of the several three composers whose works are included were
hundred who contributed to the psalmody reper important and influential in their day and composed
tory. Some, like Abraham Wood, Joseph Stone, Jacob music that has interest and artistic worth in our own.
French, and Elisha West, were prolific and popular in
During the quarter century following the Revo
their day but are largely unknown today. Others,
lutionary War, a flowering of American musical
such as Nathaniel Billings, Lewis Edson Jr., and
creativity occurred that was unprecedented in any
Merit Woodruff, were little known even in their own
period until the present day. Centered in the New-
time, but they wrote some interesting and expressive
England states, principally Massachusetts and Con
music that warrants wider acquaintance. Most of
necticut, this outpouring was based on the musical
these composers have the whole of their published
practices of the Congregational church as they had
music presented in this series. This will allow for a
developed over the previous half century. It in
better assessment of their musical contributions, and
volved music for the church choir, which had been
will provide performers with the widest possible
introduced following over a century of opposition,
selection of the composers' works.
and its ancillary organizations, the singing school
vii
viii
• INTRODUCTION TO THE SERIES
and the musical society. The composers writing for Alan Buechner explored important aspects of the
these groups were their friends and neighbors, who musical tradition. Dissertations and books by Glenn
supplied pieces for special occasions, for didactic Wilcox, Lawrence Willhide, David McKay, Richard
purposes, or as artistic responses to particularly Crawford, David McCormick, Vinson Bushnell,
moving psalms or hymns. Marvin Genuchi, David Warren Steel, Betty Bandel,
and Daniel Jones dealt with individual composers,
These composers were not trained professionals
their lives, and music. Works by Ralph Daniel, Karl
with highly developed skills, but merchants, school
Kroeger, and Nym Cooke have clarified musical
teachers, farmers, and mechanics who had gained
forms and personal relationships. The bibliography
some facility at singing. They learned their composi
of Britton, Lowens, and Crawford has provided an
tional craft through trial and observation. They often
accurate account of tunebook publication to 1810.
taught the rudiments of music reading and choral
singing to young people in their community in occa What has been lacking up to now have been
sional singing schools. Frequently, they also led the reliable editions of the music. Prior to 1977, the
choir in their local church. Occasionally they may psalmody repertory had received no critical atten
have been called upon to supply new music for tion. In that year the first volume of The Complete
ordinations, celebrations, and other local occasions, Works of William Billings, edited by Hans Nathan, was
or they may have composed pieces to demonstrate published by The American Musicological Society
musical precepts in their singing schools. Over time, and The Colonial Society of Massachusetts. During
some of these composers amassed a sizable body of the 1980s and early 1990s, three more volumes of
works. Friends and supporters then may have en Billings's music were issued by these societies.
couraged them to publish a tunebook of their pieces. Meanwhile, plans were underway for a series of
Others, having gained a reputation as a good com volumes containing American musical monuments:
poser, may have lacked sufficient financial backing Music of the United States of America. Sponsored by the
to issue a tunebook of their own. Their tunes might American Musicological Society, this series will in
then be published in the tunebooks of other compil clude collected works editions of psalmodists Daniel
ers. New American music was in demand by singers, Read and Timothy Swan. The Recent Researches in
and in this way, between about 1780 and 1810, some American Music series, published by A-R Editions,
200 American composers issued over 5000 pieces— will also issue a volume of music by Stephen Jenks.
psalm tunes, extended tunes, fuging tunes, set pieces Music of the New American Nation will complement
and anthems. Undoubtedly many works remained and extend these earlier publications to composers
in manuscript and, since these lacked the perma who did not find a place there. Thus, as the twentieth
nence of print, much of this music was lost or de century closes, the works of the most important
stroyed by later generations that generally lacked an American psalmodists will be available for perfor
appreciation of its historic or aesthetic value. But mance and study.
5000 pieces is a sizable repertory, one that offers
Psalmody served a number of functions in eigh
today's choral director a profusion of beautiful, excit
teenth- and early nineteenth-century America: it was
ing, significant religious partsongs that are again
a pious duty in the praise of God, a vehicle for vocal
highly valued.
instruction, a means of innocent recreation, both
Prior to the Second World War, little notice was public and private, and a medium for artistic self-
taken of early American psalmody. Following the expression. The church-goer in the pew probably
war, however, greater attention began to be paid by thought little about the music being sung, so long as
scholars to the history, bibliography, and style of this it was appropriately solemn and suited to the occa
music. Doctoral dissertations by Allen P. Britton and sion; however, for the singer in the choir, the singing
ix
INTRODUCTION TO THE SERIES
master, and the composer, it was an important ad substituted. If the composers were merely concerned
junct to daily life. For composers, in particular, with providing a succession of notes to guide a text
psalmody offered a means of communicating their through time, a purely utilitarian function, they need
concerns and their vision to a wider audience. Com not have marked them with their own individual
posers set texts that moved them. This can be amply expressive features. If they had wanted only to dem
demonstrated by their selection; often these are not onstrate some musical precept to their singing
the first stanzas of the psalm or hymn, but an interior schools, they need not have worked to make their
verse that carries a particularly dramatic image or tunes melodically expressive and rhythmically in
pressing thought. Their settings are also individual. vigorating. The American composers of psalmody
One composer might set the text as a plain tune, were artists, somewhat naive perhaps and certainly
simple and unadorned; another as an extended tune, not as well trained and deeply experienced as Euro
with expressive melismas; a third as a fuging-tune, pean art-music composers, but they approached
with extensive word painting. The same text might their medium and performers in the same sense of
also be used as a set-piece, where the musical details concern and respect as those who composed sym
are so individual that another text could not be phonies, quartets, and sonatas.
Acknowledgments
I wish to express my appreciation to my colleagues expertise in computer operations made the inputting
Richard Crawford, William Kearns, Lawrence of the music easier. Mary Louise Van Dyke of the
Worster, and Daniel Jones for their help and encour Dictionary of American Hymnology assisted in lo
agement in connection with this project. In particu cating some particularly obscure hymn texts. To all
lar, I acknowledge my debt to Gary M. Rader, devel of these, plus the editors of the individual volumes,
oper of the MusicEase music notation software used who participated in this project with enthusiasm, I
for the musical scores. He offered his technical help send my deepest thanks.
in overcoming numerous format problems and his K.K.
Works Cited
Bandel, Betty. Sing the Lord's Song in a Strange Land: The Bushnell, Vinson C. "Daniel Read of New Haven (1757-
Life of Justin Morgan. East Rutherford, N.J.: Fairleigh 1836): The Man and his Musical Activities." Ph.D.
Dickinson University Press, 1981. dissertation, Harvard University, 1978.
Britton, Allen P. "Theoretical Introductions in American The Collected Works of Daniel Read, ed. by Karl Kroeger.
Tunebooks to 1800." Ph.D. dissertation, University of Madison: A-R Editions, 1995.
Michigan, 1949. The Collected Works of Stephen Jenks, ed. by David Warren
__________, Irving Lowens, and Richard Crawford. Steel. Madison: A-R Editions, 1995.
American Sacred Music Imprints, 1698-1810: A Bibliog The Collected Works of Timothy Swan, ed. by Nym Cooke.
raphy. Worcester, Mass.: American Antiquarian Soci Madison: A-R Editions, in preparation.
ety, 1990. The Complete Works of William Billings, ed. by Hans Nathan
Buechner, Alan C. "Yankee Singing Schools and the and Karl Kroeger, 4 vols. Boston: American Musico
Golden Age of Choral Music in New England." Ph.D. logical Society and The Colonial Society of Massa
dissertation, Harvard University, 1960. chusetts, 1977-1990.
