Isaac Watts wrote the words to “Joy to the World” in 1719, based on Psalm 98 in the Bible. The hymn originally glorified Christ’s triumphant return at the end of the age, rather than a song celebrating His first coming. Only the second half of Watts’ lyrics are still used today.
The music was adapted and arranged to Watts’ lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel. The name “Antioch” is generally used for the hymn tune.
As of the late 20th century, “Joy to the World” was the most-published Christmas hymn in North America.
There are versions of Joy to the World available at the O’Connor Music Studio for any level of playing, starting with Pre-Reading, all the way up through Advanced and duets.
I have always respected Dr. Hinson’s work and his music. So much so that I went to Connecticut to take a class on Piano Pedagogy with him several years ago. I have also attended several local piano teacher workshops with him. At one of them, he claimed to remember me from that Connecticut class. Whether true or not, I treasure that comment and the signature on a piano book he gave me.
We have several of his books at the O’Connor Music Studio and many are available for loan. If you are interested in buying any for yourself, amazon.com has a great selection. In addition to those books he has authored, he has edited the works of many composers. Amazon lists 270 works edited and annotated by Dr. Hinson.
One of America’s most respected authorities on piano literature, Dr. Maurice Hinson received the Lifetime Achievement Award from the Music Teachers National Association at its Washington, D.C. convention in the spring of 1994, the Outstanding Alumni Award from the University of Florida in 1990, and the Outstanding Alumni Award from the University of Michigan in the fall of 1995. Hailed as a specialist in American piano music, some of his articles appear in the New Grove Dictionary of American Music in the United States.
Dr. Hinson received his Bachelor of Arts degree from the University of Florida and his Master of Music and Doctor of Musical Arts degrees from the University of Michigan. He also studied at The Juilliard School and the Conservatoire National in Nancy, France.
While a Senior Professor of Piano in the School of Church Music at the Southern Baptist Theological Seminary in Louisville, Kentucky, Dr. Hinson’s curriculum included teaching piano, piano literature, and piano chamber music. He performed, lectured, and gave masterclasses worldwide. His books and editions have become classic standards in the studios of serious piano teachers and students the world over.
Hinson, Dr. G. Maurice, age 84 died November 11, 2015 in the company of his family. Dr. Hinson was Professor and Senior Professor of Piano at the Southern Baptist Theological Seminary from 1957 to 2015, and a member of Broadway Baptist Church. He was also organist-choirmaster of churches in Florida, Michigan and Kentucky from 1943 to 1980. Dr. Hinson received his BA degree from the University of Florida and his MM and DMA degrees from the University of Michigan, and also studied at The Julliard School and the University of Nancy, France (Conservatoire National).
He was the first president of the Greater Louisville Music Teachers Association, and president of the Kentucky Music Teachers Association as well as the Southern Division of the MTNA. He also taught “The Dorsey Class,” a group of selected piano teachers from 1963 to 2015.
Dr. Hinson is the author of 14 books mostly published by Indiana University Press, plus over 100 articles for music publications. He was a senior editor for The Alfred Publishing Company of California. He edited more than 300 editions of classical piano music and recorded five DVDs of piano music.
As Professor of Piano at the Southern Baptist Theological Seminary for 58 years, he taught and nurtured many pianists who now hold distinguished positions in churches and universities throughout the world.
Dr. Hinson received many awards in piano pedagogy and performance. He was awarded the Liszt Commemorative Medal by the Hungarian Government and the Medal of Excellence by the American Liszt Society for his research on the music of Franz Liszt. He was hailed as a specialist in American Piano music and some of his most recent articles appeared in the NEW GROVE DICTIONARY OF AMERICAN MUSIC. He gave recitals, lectures, and master classes in five continents and 50 states.
Hinson was the founding editor of the JOURNAL OF THE AMERICAN LISZT SOCIETY, past editor of THE AMERICAN MUSIC TEACHER, and contributing editor of THE PIANO QUARTERLY and PIANO AND KEYBOARD.
Night on Bald Mountain refers to a series of compositions by Modest Mussorgsky (1839–1881). Inspired by Russian literary works and legend, Mussorgsky composed a “musical picture”, St. John’s Eve on Bald Mountain on the theme of a witches’ sabbath occurring on St. John’s Eve, which he completed on that very night, June 23, in 1867.
Get a free copy of the sheet music at IMSLP or buy it on amazon.com. There is also an easy version on amazon, with all the note names written in.
Interestingly, the original piece composed by Mussorgsky is not the version you typically hear. That was only published in 1968 and is performed very rarely. The piece we have come to know (and hear in places like Walt Disney’s Fantasia is an arrangement by Rimsky-Korsakov.
From Disney’s Fantasia
Piano version transcribed for solo piano by Konstantin Chernov (1865-1937).
The Ludwig Symphony Orchestra, conducted by Maestro Thomas Ludwig
The Funeral March of a Marionette (Marche funèbre d’une marionnette) is a short piece by Charles Gounod. It was written in 1872 for solo piano and orchestrated in 1879. It is perhaps best known as the theme music for the television program Alfred Hitchcock Presents, which originally aired from 1955 to 1965.
In 1871-72, while residing in London, Gounod started to write a suite for piano called “Suite Burlesque”. After completing one movement, the Funeral March of a Marionette, he abandoned the suite and had the single movement published by Goddard & Co. In 1879 he orchestrated the piece. The instrumentation is: piccolo, flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in A, 3 trombones, ophicleide, timpani, bass drum, triangle, strings. The work is in the key of D minor, with a central section in D major. Various arrangements by other hands exist.
There is a program underlying the Funeral March of a Marionette: The Marionette has died in a duel. The funeral procession commences (D minor). A central section (D Major) depicts the mourners taking refreshments, before returning to the funeral march (D minor).
The score contains the following inscriptions in appropriate places:
La Marionnette est cassée!!! (The Marionette is broken!!!)
Murmure de regrets de la troupe (Murmurs of regret from the troupe)
Le Cortège (The Procession)
Ici plusieurs des principaux personnages de la troupe s’arrêtent pour sa rafrâichir (Here many of the principal personages stop for refreshments)
Retour a la maison (Return to the house). (Wikipedia)
Download this music in several versions from IMSLP. Click on Arrangements and Transcriptions. There are also some arrangements for piano at the O’Connor Music Studio, including an advanced level. This is arranged for three levels starting with very easy piano in PIano Maestro.
On Alfred Hitchcock:
From Faber Piano Adventures Performance Book Level 3B No.7 (Also available in the OCMS Library):
“In the Hall of the Mountain King” is a piece of orchestral music composed for the sixth scene of act 2 in Henrik Ibsen’s 1867 play Peer Gynt by Edvard Grieg. It was originally part of Opus 23 but was later extracted as the final piece of Peer Gynt, Suite No. 1, Op. 46. Its easily recognizable theme has helped it attain iconic status in popular culture, where it has been arranged by many artists, including for the piano.
The translation of the title of this piece from Norwegian isn’t quite literally “mountain king”. The “king” in this instance is actually a troll that Peer Gynt invents in a fantasy. The introduction of this movement is, “There is a great crowd of troll courtiers, gnomes and goblins. Dovregubben sits on his throne, with crown and sceptre, surrounded by his children and relatives. Peer Gynt stands before him. There is a tremendous uproar in the hall.”
Borrow a copy of the sheet music from the O’Connor Music Studio. I have this arranged for piano, duet, 2-piano, simplified…
8 part vocal orchestra (plus a tiny pair of cymbals)
Danse macabre, Op. 40, is a tone poem for orchestra, written in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based on an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin.
With a title that includes the word “macabre”, you can tell it’s a great piece for Halloween. This is by far the most famous work associated with the holiday, and with good reason. It is a tone poem inspired by a French legend that says “Death” appears at midnight on Halloween to call forth the dead from their graves to dance for him. He plays the fiddle while skeletons dance until dawn.
Get a free copy of the sheet music at IMSLP (Look for Arrangements and Transcriptions) or borrow a copy from the O’Connor Music Studio. I have this arranged for organ, piano, duet, simplified…
Amazon has a great Dover edition for solo piano. This splendid compilation features a variety of the composer’s best piano works, all reproduced from authoritative sources. Taking its title from the popular orchestral work “Danse Macabre” (presented here in the brilliant arrangement by Liszt), this collection also includes “Allegro appassionato,” “Album” (consisting of six pieces), “Rhapsodie d’Auvergne,” “Theme and Variations,” plus six etudes, three waltzes, and six etudes for left hand alone.
1874 ~ Charles Ives, American composer
More information on Ives
• 1890 ~ Ferdinand “Jelly Roll” Morton, jazz pianist/composer
• 1913 ~ Grandpa (Louis Marshall) Jones, Country Music Hall of Famer, Grand Ole Opry, singer
• 1914 ~ Fayard Nicholas, American tap dancer, one-half of The Nicholas Brothers and actor (The Five Heartbeats)
• 1923 ~ Robert Craft, American conductor and writer
• 1935 ~ Jerry Orbach, American singer and actor for the musical theater
• 1937 ~ Wanda Jackson, Singer, songwriter
• 1939 ~ Jay Siegel, Singer with The Tokens
• 1939 ~ All the Things You Are was recorded by the Tommy Dorsey Orchestra on the Victor label. Jack Leonard was the featured vocalist.
• 1945 ~ Ric Lee, Drummer with Ten Years After
• 1950 ~ Tom Petty, Singer with The Traveling Wilburys
• 1951 ~ Al Greenwood, Keyboards with Foreigner
• 1955 ~ “Day-O. Day-ay-ay-ay-o!” One of the most popular of the Harry Belafonte hits was recorded for RCA Victor. Day-O didn’t make it to the pop charts for over a year, until January of 1957, after its name had been changed to The Banana Boat Song (Day-O).
• 1958 ~ Mark King, Bass, singer with Level 42
• 1958 ~ Ivo Pogorelić, Croatian pianist (1978 Casagrande winner)
• 1962 ~ With Halloween just around the corner, we remember that Bobby “Boris” Picket and the Crypt Kickers reached the top of the charts this day (for two weeks) with The Monster Mash. And someone, somewhere, has resurrected it every Halloween since.
This piece is now in Piano Maestro in the Halloween section and there is sheet music, if you are interested.
• 1962 ~ The musical, Mr. President, written by Irving Berlin, opened on Broadway. Mr. President ran for 265 performances.
• 1965 ~ The Beatles received a gold record for the single, Yesterday. This song marked the first time a cello was used in a pop hit.
• 2000 ~ Li Yundi, an 18-year-old virtuoso from China, has won Poland’s Frederic Chopin piano competition, becoming one of the youngest players to capture the prestigious international prize. Read the whole story
None of the companies that have collected royalties on the “Happy Birthday” song for the past 80 years held a valid copyright claim to one of the most popular songs in history, a federal judge in Los Angeles ruled on Tuesday.
In a stunning reversal of decades of copyright claims, the judge ruled that Warner/Chappell never had the right to charge for the use of the “Happy Birthday To You” song. Warner had been enforcing a copyright since 1988, when it bought Birch Tree Group, the successor to Clayton F. Summy Co., which claimed the original disputed copyright.
Judge George H. King ruled that a copyright filed by the Summy Co. in 1935 granted only the rights to specific piano arrangements of the music, not the actual song.
The Piano Puzzlers book is available in the O’Connor Music Studio library if you’d like to give any a try. Piano Puzzlers as heard on American Public Media’s “Performance Today.” Includes 32 tunes with songs by Gershwin, Berlin, Arlen, Porter, Rodgers, Fats Waller, Lennon & McCartney, and others disguised in the styles of Bach, Handel, Haydn, Mozart, Beethoven, Brahms, Schubert, Schumann, Chopin, Janacek, Debussy, Ravel, Rachmaninoff, Stravinsky, Prokofiev, Bartok, and Copland.
Includes an introduction by Fred Child, host of “Performance Today” as well as background info by Bruce Adolphe. “Bruce Adolphe has taken a common musician’s party game and elevated it to high art and truly funny musical slapsticks. The Piano Puzzlers are a unique combination of extraordinary insight into the styles of many composers subtle, expert workmanship and great, great fun!”
If you’re a music geek (like me), I have a program for you. Now, let me be clear, to fully qualify as a music geek…you must have a fond appreciation for classical music (no, Poison, Quiet Riot, and Zepplin do not count as classical music). So, if you’re a “music geek” without an appreciation for classical music…well, I hate to burst your bubble…but, you’re not truly a music geek. Instead, you’re a music appreciator, but not a geek. So, if you just listen to indie music and scowl at anything on a label larger than Matador…don’t bother following the link I’ll provide…the fun will be lost on you…And, you probably won’t have a chance.
Every Wednesday night, on my way home from WNL, I turn on my local NPR station to listen to Piano Puzzlers on Performance Today. It’s absolutely incredible. A pianist/composer (Bruce Adolphe) takes a familiar folk or pop tune and sets it inside a classical masterpiece (or in the style of a particular composer). Sometimes it’s easy…sometimes it’s ridiculously difficult. There are days when I say, “got it” on the first pass. Then there are days when I say, “what the heck?” And, more often than not, I’m able to get either the popular/folk tune or the composer.
This is sad to admit, but there are nights when I’ll slow down on the drive home or sit in the car in the driveway to finish an episode. In fact, I get a little worked up if someone stops me after WNL…as I might miss the beginning of Piano Puzzlers (it usually hits around 8:20pm on our local station).
Take a listen to some of the archives and see if you can figure it out! It’s really cool…but probably only appreciated by music geeks (the kind of people that listen to NPR for their musical programs and not just the snipets of cool indie rock between segments on All Things Considered…which is a great show too).
1874 ~ Charles Ives, American composer
