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This is America's music your city station is happy to present the premiere of a new recorded program series I live in the music of our nation your host and commentator for the series is the talented young composer conductor don get to introduce the work which illustrates this is American music here now Mr Gillis I'll in a classic words the old time politician when he was asked about his successful speech making career said Well it's simple first I tell them what I'm going to tell them and I tell them what I told them I was going to tell them and then I tell them what I told them the child the at the beginning of this new series this is America's music right I could tell you what I'm going to be constantly telling you during the broadcast that we'll have a Sunday night mainly that we have in America a musical heritage that is as rich and full and all encompassing the world has yet seen and that some of the outpourings of the American has come music that is worthy is great and necessary This then will be a we point with pride type of show calling your attention to something that passes by altogether too unnoticed to be perfectly frank about the whole thing what we're really doing is putting a label marked made in the USA on one of our most important product music although we won't be scholarly or academic in our approach to this wonderful subject we will be I trust informative from time to time pleasant at all times and useful always in serving up on our recorded platters those items of music that will be one heard interesting to say the least if not provoke it even may be controversial and then it is so important to any broadcasting unit to know just what its listeners are thinking you're here with invited to write your opinions whatever they may be to us in N.Y.C. and the first item we'd like to hear from you about is a good first class working definition of what is American music. I don't like the fellow who tossed the whole subject off with this rug and said There ain't no such thing you have a moment's thought what is America's music it's a good question and I'd like to hear your definitions now our music will again tonight we're dealing mostly in short pieces some tried and true others occasionally played and wanted to I'll venture you've never heard before it rather represents a cross-section of much of the music you hear on your radios in a concert not all of it important perhaps but all of it has achieved a unique position in the literature of having been recorded some of the men who wrote the music you're to hear are alive some of them are of the past whatever the differences in their styles and concepts are they have one thing in common they are we're all Americans and their music is definitely influenced by the land in which they did their work I must say however before I mean Ganz that I have tried to be as in person and impersonal as possible in selecting the Knights composers interested only in the variety of ways. Which we might show you how our creators are working and the obvious influences of our land upon them so now I'll let our music began with Chadwick's Jubilee overture. Poor. Poor. Poor poor. Poor. And. The poor. Poor poor. Poor poor the the. Poor. Poor. Poor poor. Poor. The poor poor poor. The poor point for. One. At where the at heart. Out. At where America. Merrill. The out who. War Now the. Wars. But. Now when. The poor. The poor. Poor. Poor. The poor poor. Tonight for. Larry. Thank you. Thank. You. Thanks. Thank. You. Chadwick's Jubilee overt you're the opening composition in this new series this is America's music next in a lovely setting for orchestra one of our very favorite spirituals Nobody Knows the Trouble I've Seen. This. This. It's so it's so. That with so that we. That that it that was that suits the with that ward for. This. No war. The war that was worn out which one it was thought that with gets zapped that with that it worked. Nobody Knows the Trouble I've Seen Wow Now we've heard two types of American music one a composed work the Chadwick Jubilee the other folk music will have much to say about folk music and its influence on the American composer and later programs but tonight we're here to listen with you to these various examples of indigenous Americana Take for example this next work written by Otto says on a it's the first movement of his symphony in jazz and then it's seven minutes with this is on a utilizes the full gamut of rhythmical and melodic characteristics of jazz that's a definite artist ration that takes this particular symphony orchestra into the realms of being an extended dance band that actually this is more than mere foot tickling or hand tapping music it's an attempt I think to achieve elements of improvisation in jazz but to confine them within the structure of synopsis of the sonata form at any rate Mrs on his promise to be our guest on a future program and we'll ask him then to talk about what he most obviously believes to be genuine inspirational material for the serious musician dead now is Otto's design as symphony in jazz. For. The. So. The put. The Book Fair points so. Poor. The poor the poor the poor. The America for. Our are poor. Poor. Poor poor the poor poor. Poor the poor the poor. The poor. Poor the. With. The end. Of. The all the but. Rather the or. The. The poor. The poor. The poor the put. The poor the poor. The poor poor. That was the first movement of out of the symphony in jazz which is definitely one man's approach to solving the problem of what is American music the more specific way and one probably that appeals a little more to those INS S. and to have outlawed jazz from the source of influences allowed to the working composer there's a composition what's going on mine is one of the kind of pieces yet written in America it was written by Wayne Barlow and it's a wrap so they called from the winter's path. The the the the the the. The the. The the. The the. Poor. The new. Orleans. The poor the poor the rich the or are. The norm. The orer the the. The UP. The UP. The UP. The. Poor the poor. Poor. Poor the you. Know who are. Poor. Poor. Poor. The the. The winter is passed by Wayne BARLOW This spring is now out of the halfway point on the first of our programs this is America's music so far we've heard music by Chadwick. And bottle plus the spiritual and so far this music is represented to each of us some phase of American life each in his own ways particularly appealing idea immediate to his surroundings and said he's creative mind to work to produce a score which for him at that moment represented America and some phase of description action or focus substance this is good because it's characteristic of the direct approach which most Americans use when they set about to build anything the same basic idea must have been in the mind of Aaron Copeland when he wrote the music you're going to hear next from his score music in the theater or music for the theater we're going to listen to dance. It may. Put us mess. News. Today. Who whose. Book who. Who who. Who who. Who who. At one. Who's music. That was the dance from music for the theater by an open start and future programs which you will hear a great deal from is to cope and his music for among contemporary Americans he wields a vast influence and has contributed in much today America because American concert were owned. Equally important in his own particular field is Duke Ellington this very serious composer of some of the nation's great song hit songs like In my solitude Mood Indigo which are in themselves jazz classics as written a lullaby which he calls an American lullaby I thought he should be represented on this first program with this delicate and sensitive piece of writing an American Lullaby by Duke Ellington. Yeah. You. That was an American and a lullaby by Duke Ellington now in vivid contrast to the introspection of Mr Addington Zlata by here's part of the score by the noted critic and composer Virgil Thompson from his five portraits here is if you. Were with her poor. Poor. Poor. Poor. Point. Little. Piece. Thirty. You're. The few from Virgil Thompson score five portraits I think perhaps the pattern is beginning to shape up a little American composition is no longer in its infancy but thoroughly grown up and equally at home in most of the idioms and all of the accepted forms whether the influence of been classic or contemporary He writes with a skilled hand in the study output of scores that are competing for attention from the world's orchestras Take for example this next well established bit of American writing it's the white peacock of Gryphus And while mostly people start talking in terms of French influence and European concepts on they refer to Graf as. I'm not so sure after all Americans didn't actually invent music any more than they invented clothing or shipping or food but certainly most of us going to Grey that are modification of the originals in our know how and using the models to create something that is distinctively ours as long been verified so it is with gravitas and the white because I think it could have been written only by an American what do you think. Yeah yeah. Yeah eat. Eat. Eat. When. The and. Now from Charles Tomlinson Griffiths on the white peacock we're going to move along to Sigma's to and for a very good reason to for in our search for influences here tonight we thought about jazz about Appalachian folk songs and about the Masters here now is something that is really more directly traced folk dance music losing none of the boisterous character of the original Mister signature is transformed the sounds of banjo guitar and fiddle to the pages of a symphonic score and really done right by the tunes these senseless eyes in this very gay dance called Saturday Night. Or what. During the day. The boy the the war or the to. The poor boy. Thirty. Third my. Book. By. Book. Bag by the fall the All right Paul the or whatever. Book our or her. Past the old. The authority. That was Saturday Night by Elie signature from his suite called Ozark sat now as we say on the radio I see my time for this first program of this is America's music is about up and I hope you'll agree with me that the music you've heard tonight was something to be proud of I know I'm proud of it and I hope that it continually grows in popularity and box office demand during the weeks that lie ahead will have many more scores to offer you by these men who are writing their music for you some of it's formidable and difficult to understand some of that will be valuable perhaps from only its historical importance and some of it will be controversial either for its completely bizarre ideas or lack of them depending on your point of view but all of it my friends will be interesting and mainly because it was written about you and for you so please join us again when we bring you more works by American composers and please if you will let us have your comments and suggestions for what you like to hear included on the show and if you do have any good definitions of American music on the tip of your fountain pen send them along to us what you don't know next week then this is Don Gallo saying good night and thanks very much for being with us. You've been listening to the talented young composer conducted Don Gillis your host in this new record series. Be with us again next Sunday night at nine when this to give us will offer more of the works which prove his contention that this is America's music your comments on and reactions to this broadcast series will be welcomed here at your city station address them to this is America's music W N Y C New York seven New York. The you. You're. Poor. Poor. Poor. Poor. Poor. The the. Poor. The the. The the. The IT. Thank you. During one point who are put forward. For work. Thirty hours. Who are who're hoorah. Who are. To. The foot forward. Or are. The. Who. Who who. Who who. This is the municipal broadcasting system the popular United States Army Band.