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All MIDI file contents and Wave/MP3 Audio recordings are Copyright ©1998 through 2015 under the 1998 Electronic Copyright Laws by Bill Edwards and Siggnal Sounds. All Sheet Music and Album Cover images here have been restored or enhanced by Bill Edwards, and only the original sources are in the Public Domain (except where noted). Unauthorized duplication or distribution of these proprietary files or associated digital recordings is a violation of copyright and patent law. They are for personal use and enjoyment of individuals only, and may be used on other sites only upon request for permission to do so. This site has been optimized for HTML5/CSS3 browsers released in 2012 or later with a recommended minimum 1024x768 and optimal 1280x900 monitor resolution or better.
Edward Taylor Paull started out as fledgling publisher and composer until he hit upon a formula in the mid-1890s that launched him to success. It started with his first published march, The Chariot Race, a.k.a. Ben Hur March. His thought was to grab the potential pianist or listener's attention before they even heard the piece. This was accomplished through the process of some extraordinary cover art, sometimes suggested or designed by Paull, and printed with an expensive five-color lithograph process utilized primarily by the A. Hoen and Company printing firm in Richmond, VA. The names of many of the lithograph artists have been obfuscated by that of the firm. The process involves creating grooved stone faces in which the desired portion to be printed must be represented in relief. There were four or five stones for each cover, depending on color depth; one for each primary color, and one for black. That these artists made all of these stones overlay to create a single multi-color picture is a testament to their amazing skill.
The topics Paull chose for his own pieces, or from among many submissions sent to him, most often centered on disasters, wars, victory, or exciting activities. They lent themselves to the public's desire for the spectacular, celebratory or the profound. Many of the marches were very descriptive, often including text queues entailing what each section of the piece was intended to represent in terms of action or exposition. This may have been more for the amusement of the pianist than the listener, unless there was someone to announce the action as the music was played (I've done it occasionally during a performance!).
Anyone who has played through a large part of the E.T. Paull catalog, particularly pieces written by Paull himself, knows summarily what to expect and when. In other words, it is not necessarily the music that sold the piece, as his writing was both predictable and limited in scope. Many of the sections of his marches are interchangeable, which is not necessarily a bad thing (it has saved me from time to time). While not all of the pieces shown here have a MIDI at this time, there are plans to record most of them as time becomes available. For now, enjoy the cover art for what it is, which is usually sensational.
ANNOUNCEMENT I have written a comprehensive biography on the Music, Art and Life of E.T. Paull which is no available in my Books and Music section. It is also in a limited release in bookstores, including the Scott Joplin store in Sedalia, Missouri. At 400 pages it is printed in full color to make the most of the spectacular cover art displayed within. Included are complete listings of his publications, along with a rollography, discography, an analysis of a descriptive march, and several sidebars on composers, artists and lithographers and collecting of his music.
My sincerest thanks must go to E.T. Paull Guru Wayland Bunnell who contributed additional information and corrections to this page. He owns one of the most complete E.T. Paull collections in existence, over 400, complete with alternate covers. You can contact him at firstname.lastname@example.org.
|The Chariot Race, or, Ben Hur March|
Edward Taylor Paull - 1894: This was Paull's first big hit. It established him through the use of both a beautifully colored cover and the descriptive text inside the music. Marches were gaining in popularity, and this same year would see the composition of John Phillip Sousa's Stars and Stripes Forever. It was also the year that General Lew Wallace, bucking opposition from the church, managed to get his novel Ben Hur - A Tale of the Christ published. This is a fitting tribute to the most exciting part of the book, and indeed of both of the MGM productions of the story; that of the chariot race between once-friends Judah Ben Hur and Messala. For anybody who has not seen the 1925 production starring Ramon Navarro, I highly recommend finding it. It is part of the Ted Turner movie library, and has many color scenes using the early two-strip Technicolor process that come close to the brilliance of E.T. Paull's vision for his covers. This composition enjoyed a great deal of new popularity when the film was released, and was often used as an accompaniment to the chariot race scene. Note the gradual acceleration near the end of the race, and an ending style that would find a permanent place in many future Paull marches.
The Stranger's Story
(or Why Do Our Loved Ones Leave Us?) Lyrics
Edward Taylor Paull - 1895: Just after Ben Hur March, Paull tried has hand at song writing with minimal success. Originally titled The Old Man's Story, the name was changed after the first printing, and there are a limited number of copies where the first title is overprinted with the newer one. Subtitled "Why Do Our Loved Ones Leave Us?", this waltz was one of the last of the early efforts of the composer/publisher at song writing. The lyrics are typical schmaltz from a time when sorrow and pathos sold well (the "gay" nineties?), describing a man encountering a happy gathering and was asked to tell his story. It turns out that he had lost his three children, then his wife due to the sorrow, and would never be happy. Talk about bringing a party down - but this type of pre-ragtime music actually had a vast audience at the time. This particular waltz tune boasts the most cover variations of any piece in the Paull catalog, having also been printed as an instrumental. The two covers shown here represent an original first edition print from Richmond and an early 1900s edition from his third New York address.
|The Della Fox Little Trooper|
W.O. Johnson - 1894/1896: Dedicated to Miss Della May Fox, a famous Broadway stage actress and singer of the 1890s, this march has echoes of both Tchiakovsky and Sousa, as it actually starts with "Pistol shots or torpedoes" when performed in concert. There is also explicit percussion notation included to emulate a galloping horse in one section. Johnson had already published it once on a small scale when Paull took it into his catalog two years later in 1896. Miss Fox toured as a teen with a number of opera companies, debuting as an actress on a New York stage at age 20 in 1890. The Little Trooper was an 1894 musical, and this march wass simply a tribute that was not part of the play. Fox was one of the first artists to include slides during a performance to promote singing along with the latest songs (and to promote sales of the songs as well). Sadly she started a downhill slide from the late 1890s to nearly 1910 as a result of drug and alcohol abuse. Della made a short-lived comeback starting in 1912, dying at age 42 in June of 1913.
|What Might Have Been|
Castell Brydges - 1896: This sentimental and maudlin ballad may be one of the last Virginia publications by Paull before he moved from Richmond to New York City the year of publication. If the indications on the back cover are correct, it is also the fourth Richmond publication, since Charge of the Light Brigade is not listed in spite of an 1894 copyright. The cover betrays, in some sense, the cigar box business side of the Hoen Company, given the use and shading of the flora and fauna that was common to their work. The music is otherwise unextraordinary, but extremely rare over a century later.
|Charge of the Light Brigade March History Poem|
Edward Taylor Paull - 1896: This was Paull's first publication after moving his family and growing enterprise to New York City. Many people are aware of this horrific October 25th, 1854 military conflict during the Crimean War through the famous poem by Lord Alfred Tennyson, while others may have heard of it through the well known classic pieces by Franz von Suppe in his 1866 Overture to the Light Cavalry, or Max Steiner's brilliant film score of 1936. Paull also musically honored those brave men, of which some 500 or more gave their lives. A most interesting inclusion printed inside the front cover is a newspaper interview with one of the survivors. He gives a graphic synopsis of what happened when the British forces went up against the Russians and the French in that narrow valley. Essentially, their captain misinterpreted orders sent to him by the commander, and the Brigade and infantry charged in the wrong direction, most to their slaughter. The style of the music itself represents more the bravery of the men, rather than the horrendous results of their needless charge.
|New York and Coney Island Cycle March Two-Step Trio Lyrics|
Edward Taylor Paull - 1896: The modern bicycle was just coming into its own around this time, after flirtations with contraptions that had huge front wheels or others that required uncomfortable riding positions or awkward dismounts. Also coming into its own was a little resort island just south of Manhattan, where entrepreneurs such as George Tilyou were building hotels and amusements to lure New Yorkers out of the city for a day or a weekend. Among the attractions pictured on the cover are The Iron Tower built for the adventurous to enjoy a sensational view of the area, James Lafferty's Elephant Hotel, complete with a small indoor mall, and Tilyou's Steeplechase Park featuring a custom built Ferris Wheel. In this pre-automobile age, it was a common activity for couples to jump on their bicycles and make a trip across Coney Island Creek for a day of amusement and dining on Feltman's hot dogs. This piece conveys some of that innocent joy quite effectively, including a sung trio extolling the joys of cycling over other sports.
E.G. Brown - 1897: In 1897, after a mere half year in New York City, Paull worked earnestly to bukld up his catalog. He was, however, somewhat selective just the same, attempting to bring in at least some pieces that fit his mold. Sunset, by the otherwise unknown Brown, fits this mold well. This swinging 6/8 march has a little less in the way of teeth than Paull's marches to this time, but it is still pleasant. Actually, the gorgeously rendered Rosenthal lithograph on the cover is more memorable. I'm not sure how the music relates to the sunset, unless, perhaps, you imagine yourself riding off into it on your trusty piano.
|Asleep at the Switch Lyrics|
Words and Music by Charles Shackford - 1897: Paull published the works of other composers, usually as an arranger as well, but those works seemed to more often than not fit into his particular set of saleable themes. This is a song about a pending disaster, which in the age before movies was enough to keep most listeners on the edge of their seat. When Tom the railroad man, who is worried about his sick child, fails to change the switch to the proper track to side-track the westbound freight when the express is on its way. What happens then (see the lyrics) is the making of a bona fide tearjerker, alarmingly common in a time that was often called the "gay" '90s. As is evidenced by the presence of two covers, Asleep at the Switch was re-released at Paull's third New York address without the benefit of the vivid Hoen lithograph on the front, an odd decision on his part.
|The Thompson Street Cadets Lyrics|
Words and Music by Charles Shackford - 1897: The cover of this piece is reflective of the typical stereotypical attitudes towards blacks prevalent at the beginning of the twentieth century. It reflects the lyrics, which mock a black military club as they march through town. All of the unfortunate standard elements of a coon song are found within. In defense of the genre, it allowed many blacks who would otherwise have gone unpublished to make a mark both on stage and in print. Even the lyrics added to the much vaunted Maple Leaf Rag years after its inception contained a reference to a razor fight, as alluded to in this song. By the end of the ragtime era, such demeaning references either disappeared or were toned down quite considerably. Nonetheless, the cover is quite spectacular, and one of the brighter offerings by Hoen lithography.
|The Mardi Gras|
William A. Corey - 1897: This is the first of a few entries by Corey into the Paull catalog. It fits well into what was becoming an events-oriented string of titles by the publisher, this being one of the most famous of annual bacchanalia in the U.S. Started by the French as a series of masked balls, and banned briefly while the southeast was under Spanish rule, French-Americans saw to restoring this tradtion in the mid-nineteenth century, which started to take its current shape of parades and celebrations leading to Ash Wednesday in the 1870s. This march precedes by over a decade the jazz music that would eventually be a staple of the overall event, particularly the Fat Tuesday parades. A jaunty 6/8 piece, it still captures the spirit of fun, whimsy and even a little mockery that is found in the celebration. The B section is actually a bit of Italian in flavor, approaching a Tarantella in style. It is also asymmetrical in construction, an unusual feature for a Paull-published march. Of further interest is the lack of arranger credit by Paull, something applied to most marches by composers that he published. Party on!
|He's Goin' To Hab a Hot Time Bye an' Bye Lyrics|
Edward Taylor Paull (M) and Harry S. Miller (L) - 1898: In addition to cakewalks, "coon songs" were also quite popular. This is a rare, albeit good example of the genre in a rare instance where Paull himself contributed to such a piece. Later works would show more sensitivity to blacks. Miller was known largely for his odd hit, The Cat Came Back (a song that still won't go away), and provided rather deft if inaccurate negro dialect for the comical lyrics about one of the main topics often applied to them - mismanagement of new money. This song came out the very summer after the huge but short-lived Klondike gold strike in Alaska, the source of Mister Johnsen's money in the song. The cover is one of the few examples of this type from the Paull catalog that did not come from the A. Hoen company in Richmond, Virginia, but it could certainly be held up to their outstanding work as a finely crafted colorful entry of its own merit. The chorus was used for the trio of Uncle Jasper's Jubilee.
|I've Scratched You Off Ma List Lyrics|
Harry Von Tilzer (M) and Andrew B. Sterling (L) - 1898: The dynamic composing team of Von Tilzer and Sterling had just started in that regard with an initial publication in 1897, even though both had done some work separately before. This was their first of three pieces placed with Paull, and it got a very fine treatment with a colorful Robert Teller lithograph caricature on the cover. While this representation would obviously be considered offensive today, at that time it was simply business as usual, and we can't ignore that part of our history. The same is true of the lyrics, which while comic also represent the last vestiges of minstrelsy, and the peak of the 'coon' song at which the pair were so adept. It otherwise shows the promise of good things to come from this duo. An additional ragtime-scored chorus was added by composer Max Dreyfuss
|The Ice Palace March Explanatory|
Edward Taylor Paull - 1898: Just the title alone conjures up many possible images. The "Ice Palace" could be a great and elegant skating arena. Maybe even a beautiful structure like the Crystal Palace from the great 19th century world exhibition in London. I personally think of the fabulous ice-covered house that Uri Zhivago escapes to in the fabulous David Lean film, Dr. Zhivago. That was not Paull's original conception as is indicated in the Explanatory Text. The original cover is a drawing of the front and interior of his Mount Vernon, New York home of the time after it had been severely damaged by burst water pipes during a late January freeze in 1898. Oddly enough, the address of Paull's frozen home, as published in contemporary newspaper articles, is quoted several times in the Explanatory, a violation of the privacy of a public figure that would be very questionable a century later. Subsequent covers like the second one shown here lean more towards the concept of a great skating arena. It could even suggest something along the lines of the public displays of fabulous ice sculpture still held throughout the northern areas of the American and European continents. This piece could never replace the skaters waltz, but it could be perceived as a two step for blades. The bass line in the trio starts with an unnamed melody that would later become associated with Laurel and Hardy.
|Uncle Josh's Huskin Dance|
Len O. De Witt - 1898: Perpetuating again the stereotyped behavior of the happy plantation negro on the otherwise beautiful cover, this cakewalk is actually fairly representative of the time and celebrates the folk origins of the music. Notable is the use of a paraphrase of Zip Coon or Turkey in the Straw to help identify the genre in the third section. In both the first and fourth sections the same characteristic rhythm is used with slightly different melodic content, bringing some thematic unity within the piece. It makes for a pleasant overall dance tune, and the variation of the A section at the end shows even more originality by the composer.
|America Forever! March Lyrics|
Edward Taylor Paull (M) and H.A. Freeman (L) - 1898: This is one of Paull's earliest patriotic pieces, likely in response to the sinking of the Maine in the Spanish-American War a month before publication. It equals the spirit and general direction of a Sousa March or one of Cohan's flag waving tunes, although it lacks some of the scope of such pieces, having been composed for piano instead of band. It also lacks an interlude in the trio, a feature of many of his better-known marches. The heading under the title quotes the lyrics to My Country, 'Tis of Thee, and the piece, otherwise known as God Save the Queen, is quoted in full as the last chorus of the march, perhaps one of the first printed military-style renditions of it. Some editions of the cover did not have Paull's picture on it as it is shown here. A song version of the march also appeared for a brief period, as it was the first of two (see We'll Stand By the Flag) based on a poem by H.A. Freeman. America Forever surprisingly did not show up in later folios of his works.
|Queen of Beauty - Waltzes Lyrics|
Otto M. Heinzman (M) and Arthur Treveylan (L) - 1898: Waltzes were still big business at the beginning of the Ragtime era. This one was not untypical of the day, consisting of a collection of waltz themes. Three of them, placed sporadically throughout, are accompanied by lyrics. The Waltz remains as one of the most romantic and flowing of all dances, and likely inspired more mental and physical passion than any of its contemporaries, save for the tango. The role of Alma Kremer, pictured on the cover, and to whom the piece is inscribed, is unclear. Working with no available biographical information, it is assumed that she was a stage singer of the time, and may have been related in some way to publisher Victor Kremer.
William A. Corey, arr. by Edward Taylor Paull - 1898: This is one of many pieces in the Paull catalog that utilized themes of Ancient Rome for the cover and the content. In this particular case it is the gladiator against the lion. There were a number of lion-themed songs written in this era, so the public must have had some interest. There is a definite similarity between the pieces that Paull wrote and those he published by other composers, such as this one. In many cases he gave himself arranging credit, but speculation might derive that he pretty much had a hand in most everything he published. With his proven formula for sales success and their continuing receipt of royalty checks, it is unlikely that any of the other writers had many complaints concerning this process. While this cover displays success, and cleanly at that, the life of a gladiator was certainly a bit more gory, as represented in the 2000 release The Gladiator.
|We'll Stand By The Flag Lyrics|
Edward Taylor Paull (M) and H.A. Freeman (L) - 1898: With a conflict in the Philippines turning our way, and the end of the Spanish-American War spearheaded by Teddy Roosevelt and his Rough Riders, patriotism was on the rise in this country. In advance of George M. Cohan's flag waving numbers, Paull produced this inspiring march set to a patriotic poem that clearly reflected the overall sentiment of the general population of the United States. The listener should be able to discern just how much this particular march aspires to be a Sousa-like opus. To further tie it in with the current conflict, the original cover shows Admiral George Dewey (Union Navy officer who was responsible for some of the victories of that year) and Fitzhugh Lee (nephew of Robert E. Lee, governer of Virginia, consul to Cuba, and a former General of the Confederacy during the American Civil War) shaking hands in unity. For many, the war that had ended some 33 years prior was still an emotional issue, so there was some possibility of controversy with even this contemporary image. The story carries on to "The Great War", in which Paull reissued some of his best patriotic works along with some new ones. We'll Stand by the Flag was repackaged with a new cover reflecting the alliance between the Army and the Navy, a salute to the collective American Expeditionary Force (A.E.F.).
|By the Lakes of Killarney Lyrics|
Words and Music by Annie B. O'Shea - 1897: It takes a bonnie Irish lass to really put heart in an Irish song, and Miss O'Shea delivered in full with shamrocks. Paull was fortunate to obtain this beautiful tune for his catalog, although it appears to have only seen one or two printings. The cover touts famed singer Herbert E. Denton as a performer of this song, a fine endorsement for that time. However, another song by this title became much more famous years later when sung by the fine balladeer John McCormack. The beautiful Joseph E. Rosenthal cover on this edition already exploited the visual potential of the piece. It was the only tune that O'Shea had placed under the Paull imprint.
|Uncle Jasper's Jubilee Lyrics|
Edward Taylor Paull (M) and Harry S. Miller (L) - 1898: The cakewalk was not yet quite the rage, even in 1898, but it was the harbinger of what was to come. Paull was actually quite progressive at that time, and it likely did not escape him that there were many white composers successfully making good with an African-American music form. Perhaps the publication of Uncle Josh's Huskin Dance inspired Paull to take a whack at cakewalk composition. The rhythms and harmonic progressions were fairly basic, but there are actually many inspiring passages within this piece. He may have been worried about the seemingly complex (at that time) rhythms, since simplified alternatives are also included. The trio was derived from the song He's Goin' To Hab a Hot Time Bye an' Bye published separately, and is a slightly more ambitious realization of that melody in the repeat.
|My Black Bess Lyrics|
Harry Von Tilzer (M) and Andrew B. Sterling (L) - 1899: This was the last of three Von Tilzer and Sterling pieces published by Paull. Von Tilzer would soon be partnered in another publishing firm, and subsequently own a very successful company. He and Sterling would also write a number of hits over the next decade. This was one of their better pieces, anticipating their great hits of the 1900s and 1910s. The cover does not represent one of the substantial investments publisher Paull usually made in his lithographs, but the team was also less-known, thus an effort to minimize financial risk was likely a prudent business decision. A true bright spot in a sea of ethnic "coon" songs with contrived dialect, this one is a lovely tune about a black romance presented in good old English, thus showing respect for negros while also assuring a piece adaptable to multiple stage performance styles with only minor lyric alterations, something that the team would prove to be quite good at.
|Cupid's Awakening Waltzes|
Danno Sintenis - 1899: Here is a rare example of a full-color lithographed piece published by E.T. Paull, but lacking composer or arrangement credits by Paull himself. This mildly classical set of waltzes is quaint to say the least, but not particularly connected thematically. Actually, the first one has more a 6/8 subdivided feel, depending on interpretation. The remainder are rather simple waltzes along the lines of simplified Strauss or Brahms. The cover is one of the most artfully rendered of the first decade of the Paull firm's considerable output.
Otto M. Heinzman - 1899: The E.T. Paull catalog consists largely of Marches and the occasional song or ballad, so this piece is truly a standout. Other than the cover, Paull had little to do with it. In addition, it is a cakewalk, something rarely published by Paull. He may have been trying to capitalize on the latest craze in hopes of good sales, although the primary content of Paull's output would March on through the next twenty-plus years. This is a rather simple cakewalk, and does not pretend to be ragtime. Even with enhancements, it is still no better than an average piece of the time. The cover is what separates from others of the time. Although it is filled with unfortunate blatant black stereotype and caricatures of the era, the quality of the cover art is still excellent, and compares to that of Alabama Dream, another popular cakewalk.
|The Ragtime Patrol|
Charles Jerome Wilson - 1899: Another pleasant cakewalk addition to the Paull catalog, this one by Wilson, better known himself as an arranger, has few extraordinary features to set it apart for the flood of similar pieces published that same year. The left hand was very simplified in this edition, unlike many of the bolder marches Paull published. While such a shallow left hand made pieces like this sound a bit more thin, it offered the opportunity for the novice pianist to acclimate themselves more readily to the coming ragtime music, while the experienced player could most certainly fill in the lower octaves with little problem. The attractive Joseph E. Rosenthal cover, while simplifying the stereotype of the happy "coon" as they marched down the street, was actually relatively inoffensive compared to others coming out at this time and over the next decade. Note the concrete and sidewalk and fire hydrant, placing this in one of the more progressive eastern cities of the time, assumably in New York City.
|A Warmin' Up In Dixie|
Edward Taylor Paull - 1899: This interesting cakewalk was one of a limited number of brief experiments by Paull with the most popular music and dance craze of the day, but still a step shy of ragtime. The fact that he went back to mostly marches after this piece possibly speaks to his comfort level with the ragtime genre and associated forms. Unlike many other covers produced between 1895 and 1915, it is to Paull's credit that the artwork on this one is sparse with the racial stereotypes of the time, although most cakewalks by this time were likely held in dance halls at social events, rather than around a campfire somewhere. Even though it carries the traditional Paull repeat of the A and B sections after all themes have been played out, it stops short of being a syncopated march, demonstrating that the composer did his homework well.
Sam Rosenberg - 1899: This piece, the title being a shortened version of Excelsior, was dedicated by the composer to the Excelsior Lodge A.O.U.W. in Leadville, Colorado, a town that was primarily a mining community even at the end of the 19th century. A.O.U.W. represents the Ancient Order of United Workmen (click for more detailed information), one of the earliest pro-labor organizations founded in the U.S. The need for such advocates of working men was quite prevalant as the 20th century started, but it would be close to two more decades before movements like those in New York and Chicago would have enough momentum to create appropriate protective legislation that made the unions a viable and legal entity. The A.O.U.W. was also among the earliest of these organizations to provide a collective insurance policy for its members to assist in the case of layoffs or disability. The connection between Rosenberg, living in Cheyenne, Wyoming at the time, the Exelsior Lodge, and publisher Paull is still a mystery. However, since the composer owned a music store in Cheyenne, it is likely that he handled some of Paull's music, and given the genre may have chosen Paull to publish the piece for better exposure and distribution.
Thanks go to E.T. Paull collector Joe Feenstra who put together some of the information on this rare piece. He has a large E.T. Paull collection on the web, complete with some alternate covers. You can find him at www.jfeenstra.com/ETPaull.htm.
|Down Old New England Way Lyrics|
Emily Smith (M) and Harry S. Miller (L) - 1899: A typical ballad of pathos with a feel good ending, this piece by Smith (who would later pen Arizona) and Miller (who had already written for Paull) was not destined to be a big hit with ragtime and cakewalks blooming up all around it, but it was certainly passable for the period. This was also printed as a newspaper supplement, a rarity for a Paull publication. Many publishers allowed the occasional piece to find its way to the public through a Sunday supplement in a newspaper, since it was good advertising for the publisher's products as well as their talent. In the end, even though they were often printed on inexpensive but rugged news print, there were cases where the supplement saw a much wider printing and distribution than the original publication, which is possibly the case here since Down Old New England Way was included in a number of newspapers around the country, perhaps even up old New England way.
|The Midnight Fire Alarm|
Harry J. Lincoln, arr. by Edward Taylor Paull - 1900: This rousing non-Ragtime march was a popular addition to the E.T Paull catalog, and as with the many of them, sported one of the most famous of the fabulous five-color process covers. Paull occasionally published the works of writers whose fast marches and galops were in line with his writing style, and he also had a hand in arranging the pieces to fit his style as well. Lincoln wrote a number of similar marches in the same era for other publishers as well, most notably Vandersloot in Pennsylvania where he spent most of his career. While there is nothing remarkable about this piece, I have managed to make it a more descriptive romp of a fire engine running through the streets of San Francisco saving a damsel in distress. Listen for the pumping of the old-wind up fire bell at the beginning. By the way, I can never quite remember how it ends, but it does eventually end, so please don't be TOO alarmed.
|Dawn of the Century|
Edward Taylor Paull - 1900: This was a celebration of the new century, although almost a year before the actual start of the 20th century (1901). The coming of Y1.9K meant progress and convenience for everyone, which is clearly conveyed on the cover. It displays several new inventions that depended on electricity to run (how shocking), and afforded exciting prospects for the coming century. The optimistic male-centered opening text reads: "Behold! A Child is born unto this world! A Man-Child, sturdy strong and beautiful. And wonderful! He clasps a shining scroll, On which is writ the future of the Race. It tells of Peace and Justice, Love and Truth, The end of Wars, the death of Enmity, And best of all, this Universal Law: God's Fatherhood, the Brotherhood of Man." Note the later monochrome release, possibly printed during war-time, which utilized only the black ink plate and none of the color plates, leaving a lack of detail in some areas of the cover.
William A. Corey - 1900: At the dawn of the new century, patriotism and world unity were on the minds of many, in spite of our continuing isolationist policies. Paull was keenly aware of what kinds of themes would both make good cover art and inspire the public to purchase from his catalog. This march is written in the same spirit as Sousa's Liberty Bell, and on a similar theme. Corey's choice of title is interesting and foresighted, in that it would be 48 years before there would actually be a United Nations, with the League of Nations in the interim after "The Great War" ended.
|I'll Meet You, Love, Along The Line Lyrics|
Joseph A. Gruber, arr. by T.V. McLaughlin - 1900: This song is quite a departure from the normal E.T. Paull fare, but still has that Paull look and feel thanks to the beautifully rendered cover. It is a piece clearly intended for stage performance, a fact that is reinforced by specific staged directions listed on the inside of the front cover. These include gestures as specific as winking an eye or looking and/or pointing a certain direction in conjunction with a specific line of the lyrics. It goes on to suggest that, "To get best effect for this song you should use long coat, high hat, and cane." Actually, the lyrical sentiment of the song should hold as true today as it did a century ago. Be careful who you meet along the line. Which line is never fully explained, but it likely means as you go through life.
Emily Smith, arr. by Edward Taylor Paull - 1901/1903: There are exceptions to virtually every rule. This is clearly a piece from the Paull catalog with a Paull cover, but initially without the usual five color process associated with his publications. It truly is one of the few monochrome covers to ever grace a Paull published piece, and also attributed to a specific artist (Bert Cobb). A color version by A. Hoen was released in 1903 and again in 1912 conjunction with Arizona's entry into the union, and stated as "Rewritten by E.T. Paull, rather than "Arranged by" him as was often the case. There are some differences between the 1901 and 1903 editions, including additional repeats and transitions. It was enough to warrant a new coyright. Contained within either cover is a non-remarkable march celebrating what would become our 48th state in 1912, but was still clearly a part of the "wild west," as is indicated by the Native American on the covers. In truth, the pictures appear to be more complimentary than the unfortunate stereotypes that were prevalent at the time.
|A Signal From Mars|
Raymond Taylor, arr. by Edward Taylor Paull - 1901: From the time that astronomer Percival Lowell observed the occurrence of what he termed "canals" on the surface of the planet Mars, there was widespread speculation about what kind of life was there, and how would they communicate with us, or us with them. The fascination was increased with the release of H.G. Wells War of the Worlds, which postulated what an attack from the inhabitants of the fourth planet would wreak on our world. Space travel was also a fascination thanks to the works of Jules Verne, whose Le Voyage Dans La Lune (A Trip To The Moon) was one of the first motion pictures ever produced by early film director Georges Melies in 1902, and summarily stolen by the Edison film company (yielding a great profit). The cover of this march implies a friendly breed of "Martians", who are both observing us and sending high-powered light signals our way. Note that the alternate cover, in print for only a short time, was realized with the telescope pointing the wrong direction. A signal perhaps?
|Dance of the Fire-Flies|
Danno Sintenis (arr. Edward Taylor Paull) - 1901: This piece is cast somewhat in the style of the prolific Eduard Holst who wrote several student-grade gavottes, galops and the like at the end of the 19th century. While having some of the same shape and form as a march, the gavotte style has some variance in forward motion with subtle halts to left hand rhythm here and there, and the occasional pause. It is more classical in nature, and an ancestor of dance form that found little place even in the early 20th century, having been abandoned for the dances of abandon that ragtime brought forth. Most of these parlor pieces were either played in the parlor at home, or more often placed on the piano as a display of the stunning artwork once the pianist got tired of it.
|I'd Give A Hundred if the Gal Was Mine Lyrics|
Ben Harney - 1901: The claim on the cover of Harney as the "Originator of Rag-Time" is certainly a stretch. He was actually one of the earliest composer/performers to run with it, and arguably the first white musician to perform it regularly in public, thereby popularizing the new music to some extent. However, it would not be long until dozens of composers and performers would out-pace him, as his ragtime output diminished during the first few years of the century, even though he continued to perform on vaudeville circuits. This piece, an unusual entry for Paull to have published, tells a typical age-old story (black or white, but in this case designated black) about a man who finds his fine woman, a real jewel, then is inexplicably abandoned by her just because he was stepping out a bit. It is, in a very real sense, a rag-time song given its syncopation. Harney believe that anything could be ragged, therefore espousing ragtime as a style, not a genre. History has been split on this opinion, but Paull made money on the piece, so he likely did not care about those details. He'd give a hundred if that song was his!
|Richard Carvel Waltzes|
L.J. Monico - 1901: Two years prior to the publication of this piece, American novelist Winston Churchill (not directly related to the well-known British diplomat of the mid twentieth century) published his first major work, Richard Carvel. In the tradition of later authors like James Michener, it is a fictional novel steeped in history, in this case during the American Revolutionary War. Written from the point of view of Carvel's grandson, it chronicles his view of the war while serving under John Paul Jones on the Bonhomme Richard. In other words, just as Ben Hur provided material that jump-started Paull's career, this novel was rich with images of a different time for which romanticized music, in this case waltzes (which were not yet terribly popular in the 1770s), could be composed. This was Monico's second entry in the Paull catalog, Beautiful Flowers also having been a waltz. The book did fairly well and is now considered a true American classic, but Monico's career eventually just waltzed off into obscurity, a classic American story.
Mike Bernard - 1902: This piece was a real catch for the Paull catalog, yet its extreme rarity today speaks to perhaps less than average sales. Bernard was one of the top pianists in New York vaudeville at this time, and not just ragtime piano either. He had a wide range of styles, and ultimately composed a handful of piece, including Phantom Dance. The cover is less colorful than many other Paull entries, having not been created by the A. Hoen company. Bernard's dance is lively 6/8 march shifting between minor and major, and characteristic of many similarly named pieces that had preceded it. Bernard's own performance was likely quite a bit more ambitious than what was put to paper, but with enough embellishment the performer could at least stand a ghost of a chance of sounding like the composer.
|The Storm King Introduction|
Edward Taylor Paull - 1902: With echoes of Greek mythology, and to some extent forecasting the use of imagery in music that would be utilized in Walt Disney's Fantasia (1940), Paull literally lets the heavens loose with this tune. As in the Thunder and Lightning Polka penned by Johannes Brahms many years before, the pianist is required to produce the audible aspects of a thunderstorm, including thunder, lightning flashes, and rain. They represent the Storm King who is dashing through the sky and wreaking havoc for all below. In the preface to the introduction, Paull actually insists that if the pianist is not able to play the collective weather effects correctly that they should omit the separate introduction, the most descriptive section of the piece. It starts with (as per the text in the score) "Distant rumbling of thunder. Drops of Rain falling. Flashing of Lightning. [repeat] The Storm King Awakes. He defies the Elements." Then it's on with the show, come rain or come shine.
|The Midnight Flyer|
Frederick W. Hager, arr. by Edward Taylor Paull - 1903: Tunes and covers of tunes with train themes tended to have brisk sales for many years. The lure of being able to hop on a train and go to new places, along with the comforting rhythmic sounds of a locomotive in motion, both mystified and lured people. This tune, dedicated to the Brotherhood of Locomotive Engineers in America, had a particularly well-done cover. Curiously, it is a 6/8 march, whereas most train pieces tend to be composed in a 2/4 or 4/4 meter, which is closer to the natural rhythm of a train.
|The Burning of Rome Description and Explanation|
Edward Taylor Paull - 1903: The Burning of Rome is one of Paull's better descriptive pieces that centers around the inevitable destruction of Rome in the second century A.D. Nero and his fiddle are nowhere to be found, but effects emulating trumpet calls, rushing chariots, people praying, and walls crashing down throughout the city are in abundance. The accompanying description page highlights the intended effects in this piece. Rome's destruction was an event that, for many historians, signaled the beginning of a millennium known as the "dark ages." The Christian church was as yet fledgling, and as it gained strength it would try to perpetuate, and at times control the bulk of world knowledge, albeit for the better good of man. But the rampant destruction of everything that the Roman Empire represented, such as the information-rich library located in Alexandria, Egypt, created a time of fear for many, and indifference for others. Much accumulated knowledge was lost during this time, and based on just the indices of topic titles for the Alexandria library, we would have likely been much further along in terms of culture and technology at this time had this information been retained, and there was a desire to use it constructively. But Rome wasn't built in a day, now was it?
|The Romany Rye (Gypsy Intermezzo)|
Edward Taylor Paull - 1904: Man the tambourines, get out the crystal ball, and don your most festive colors! This piece was somewhat of a departure, or a concerted attempt at one, for Paull. Actually, it does have a different flavor than a lot of his marches, but comes off mostly as a modified cakewalk. The trio section is particularly interesting, with some counterpoint between the hands. Otherwise, it utilizes the same sectional structure as most of Paull's gems. Actually, Romany is a nineteenth century term for gypsies, referring most specifically to the males. The Rye reference indicates heartiness, or, a hearty gypsy. Whether gypsies would be hearty enough to actually march to this tune is a different issue!
|The Circus Parade|
Edward Taylor Paull - 1904: Definitely based on a happier topic than many of the other Paull marches, the Circus Parade is jolly jaunt in 6/8 time that is very evocative of circus music, a unique genre that was coming into its own about this time. But then again, there are elements described in here that I have never seen at a circus, so maybe I'm missing something. They include Cavaliers, Knights, and Cossacks, and an entrance of Roman Charioteers. (There's that Ancient Rome theme again!) It is definitely the type of piece that one could imagine little children marching around the house to while their mother is working it out on the parlor piano.
|The Jolly Blacksmiths|
Edmund Braham and Edward Taylor Paull - 1905: Men who love their work! The nineteenth century equivalent of the garage mechanic, appliance repairman, and all-around handyman, blacksmiths were often revered in communities where they were scarce. It was more than just shoeing horses or doing quick repairs to wagon hitches. Possibly written to respond to or complement the Jolly Coppersmith, this march actually borders on being a cakewalk in a few places, with common syncopated patterns present in the opening section. Based on knowledge of Paull's other compositions, it is most likely that Braham was responsible for that section, with only minor contributions for the bulk of the piece. Better smile back... that man is holding a hot poker!
|Paul Revere's Ride Explanatory|
Edward Taylor Paull - 1905: Listen my children and you shall hear, another march from from E.T. Paull. OK, it doesn't rhyme. Actually, Wadsworth's poem (partially included in the Explanatory on the inside over, is a very good topic to base a descriptive march on. Included in the descriptive headings for each section (mostly for the pianist) are horse gallops, alarms, assembly of the minute men, and the inevitable battle of Lexington and Concord followed by the enemy in full retreat. It is appropriately dedicated to the Daughters of the American Revolution, an organization that is still quite active into the 21st century, particularly in Washington, D.C.
|Silver Sleigh Bells Explanatory|
Edward Taylor Paull - 1906: Although not specifically titled The Christmas March, this is the closest to a Christmas piece that Paull ever came. This can be better ascertained from the cover, which is covered with holly leaves, sleigh bells and conventional bells, than from the contents. He was a known Christian, evident in some of his other pieces, but the holiday was still closely associated with the church, so many composers still demurred somewhat from writing a popular tune about the event. The descriptive headings that are supposed to reflect the experience of a winter sleigh ride, and which are excruciatingly detailed in the Explanatory, include the cracking of a whip, sleigh bells (silver ones at that), church bells, a railroad crossing, and a race with a mad dash to the finish line, all accentuated in this performance by percussive effects. Performed with the proper sound effects and sleigh bells, it is a passable predecessor to Leroy Anderson's famous instrumental Sleigh Ride from 1948.
Saul L. Alpert, arr. by Edward Taylor Paull - 1906: Nature strikes again in her full fury. Actually, this piece is just a typical march, and does not contain the usual emulation of nature associated with so many marches in the Paull catalog . In fact, the cover is the only suggestion of a natural disaster since there is none of the usual descriptive text within that is intended (as we now speculate because there is so little data to go on) to drive how the pianist played each section and convey that mood to the listener. Hurricane is as predictable as many Paull catalog marches are, but the interlude in the middle of the trio is actually a nice transition between the bass-only melody and the full iteration in the treble. The ending is also unusual as it calls for an acceleration throughout the coda. It may not blow you away, but it's fascinating to watch.
Alfred Feltman, arr. by Edward Taylor Paull - 1907: Alfred Feltman, who is pictured on both of the covers, operated a small amusement area on Surf Avenue in Coney Island, and the 500 seat Feltman's Restaurant that his father, Charles Feltman, had built. Both facilities operated until the mid 1940s. The elder Feltman introduced the hot dog to the United States, although he did not name it as such. Ziz was the name of a roller-coaster type of ride, the Ziz Mile Minute, that opened in 1904 and lasted only five seasons. It was an early design of the famed amusement ride builder William F. Mangels, and ran out to the ocean and back using a third rail system for motor power, making a hissing noise as it moved along which reportedly gave the ride its name. However, the ride was tame in comparison to other coasters built at Coney, so people soon lost interest. As for the tune, one device used in several places throughout the march is the playing of right hand chords within a sustained octave. This was occasionally used as an alternative to the left hand playing the chords in order to produce a smoother effect, as well as timbral contrast. Otherwise, the direct influence of Paull is felt throughout this arrangement.
|The Triumphant Banner|
Edward Taylor Paull - 1907: After the triumph of the Spanish-American war, which helped boost Teddy Roosevelt into the Vice Presidency (later President through succession), patriotism was an extremely popular topic for songs during the first two decades of the twentieth century. Following right on the heels of George M. Cohan's powerful The Yankee Doodle Boy and You're A Grand Old Flag, and in the tradition of most of John Phillip Sousa's patriotic marches, Paull managed to outdo all of these in at least the content of the magnificently colored cover. The tune is also very rousing, but nobody hums it today like they do the others. The printed quote at the top of the tune and the musical quote at the end pay homage to the original banner tune, Francis Scott Key's Star Spangled Banner.
C.E. Krell (arr. Edward Taylor Paull) - 1907: Diversions from everyday life have always been necessary, but not always practiced. One of the great special leisure activities that was highly popular with the French was the masquerade ball. There you could be who you wanted to be without the inhibitions that would normally express themselves without a mask on, even if people recognize you right off. It's also fun to dress up, and masquerade balls were found not only within the 400 (the elite of New York society), but even among the poor, particularly in French-settled Louisiana. However, I have been to a masquerade or two in my time, and while there may be some waltzes and the occasional promenade, I can't recall any military-style march being played at any point. Perhaps in the early 1900s it was done, but it is more likely that the title provided a great opportunity for another signature Paull cover, more than reflect the music within. Note that this was "rewritten and arranged" by Paull, therefore it sounds like Paull as well in spite of what may have been the original composer's intent. So maybe I should just mask my feelings about it and just have fun.
|The Home Coming March Explanatory|
Edward Taylor Paull - 1908: Since the combination of patriotic and military themes seemed to be best sellers, this "Home Coming" march effectively combines the themes, even though it was written in a time of relative peace. The most recent conflict, the Spanish American War, had been over for some time, though still in the memory. of most people. This march is pretty much just a parade piece with trumpet call effects, and an unusual notation of people "cheering" in a couple of spots. The cover reflects different aspects of homecoming for all of the armed forces of that time.
Edwin Ellis, arr. by Edward Taylor Paull - 1909: Lighthouse pieces were always popular, a trend that peaked with the publication of the morose Asleep in the Deep. Paull was a master at anticipating the public's reaction to disaster oriented tunes, so this topic was a natural for him, although it was never revisited. Ellis had published Flash Light earlier with a different company, and this version was more or less a rewrite of the original material to Paull's standards.
|Lincoln Centennial Grand March|
Edward Taylor Paull - 1909: Another patriotic composition, this one musically extols the virtues of the sixteenth president of the United States on the centennial anniversary of his birth. The cover was done from one of the most famous photographs taken of Abraham Lincoln when he was in the White House. A patriot at heart, Paull openly admired any leader who had the courage to resist what was wrong, even if he was in the minority. While nowhere near the scope of the later tribute to Lincoln by Aaron Copland, it is still a spirited piece. In the older tradition of a true Grand March tribute, Lincoln Centennial is a broad 6/8 march with extended sections. It also provides yet another opportunity to include part of the Star Spangled Banner within the march, giving it some patriotic appeal. Let's be honest, Abe - it does work sometimes.
|The Race Course|
Jack Glogau, arr. by Edward Taylor Paull - 1910: The excitement of a day at the downs is readily captured in this two step. Actually, horse racing was a very respectable society event when this was written. One of the most popular places on New York's Coney Island was showman George Tilyou's Steeplechase Park. The most famous attraction and centerpiece of the large park was a mile long mechanical steeplechase ride utilizing wooden horses on a circular undulating track. This was one way in which the masses could participate in some way in a sport of the elite. Thus the Paull catalog was successfully capitalizing on yet another American fascination
|Napoleon's Last Charge Description|
Edwin Ellis, arr. by Edward Taylor Paull - 1910: This is another composition in the Paull catalog that although it is not composed by its benefactor, it still carries his influence and style. The bugle call in the beginning is much the same as the beginning of the earlier Charge of the Light Brigade, and so is the outcome of the story, generally speaking. Also as with its predecessor, there is a lengthy description inside the front cover detailing the event around which the piece is composed. Actually, the text appears to be very complimentary of Bonaparte, in spite of his ultimate ambition. Note that in spite of the subject of interest that this piece is not all that short! Included here is a monochrome rendition of the cover, showing how some releases were printed without benefit of the color plates, which may have been due to either a cost-cutting measure or wartime shortages.
|The Carnival King|
Ralph K. Elicker, arr. by Edward Taylor Paull - 1911: Little is notated in this rousing composition that indicates the origin of the title. It definitely harkens back to an earlier time, and to Italian and French European traditions, when one lucky villager at Carnival time would be crowned king for the day. A similar tradition exists to this day in the annual Mardi Gras celebration, usually associated with New Orleans. Much of what is found in the Carnival of today is a celebration of cultures, centering more on food and partying than other known amusements. There has also been a long association of gypsy lifestyles and dances with carnivals held in Eastern Europe.
|The Dashing Cavaliers|
Edmund Braham and Edward Taylor Paull - 1911: Merriam Webster's Dictionary defines a Cavalier as a gentleman trained in arms and horsemanship, or a mounted soldier or knight. The picture on the cover being the only clue, the first part of the definition most likely applies to this piece. It was becoming difficult to sell 6/8 marches like this one in a time when even John Phillip Sousa was performing large numbers of cakewalks and rags in addition to his own tunes. Although it is not clear which composer contributed to various elements or sections, the device of using a left hand octave melody, as found here in the B section, was quite common in Paull's own compositions, and is likely his.
|Ring Out, Wild Bells Poem|
Edward Taylor Paull - 1912: Inspired by the poem of the same name by Lord Alfred Tennyson, which is quoted in the header of the music, this piece could be construed as a celebration of the New Year, or even another joyous occasion where what is old has passed and what is new is inspiring. There are bell effects throughout the piece that were "carefully studied," and about which the performer is informed: "The better the Bell effects are rendered, the greater will be the success of the composition." This piece does not stray too far from the E.T Paull composition formula, but the last section, emulating swinging of the bells, does help it to stand out from many other pieces from the Paull catalog.
|The Roaring Volcano Description|
Edward Taylor Paull - 1912: Another "Descriptive March-Two-Step", Volcano combines the theme of Ancient Rome with that of natural disaster. Telling the story of the eruption of Mount Vesuvius, as it destroyed Pompeii, the piece begins with the Olympic Games (which were incidentally held in 1912 when this piece was published, but were certainly NOT being held in year 79). After the ceremony crowning the victors of the games, the bells ring out, the volcano rumbles, then all of nature's fury belches forth on the piano keys. During the quiet vespers passages, one can hear the volcano interrupting as it roars in the distance. The piece ends with the inevitable death and destruction of all present, and maybe even the pianist. I have gone all out to stretch the descriptive elements of this performance as far as possible through varying tempos and dynamics, to the point I could feel the lava flowing down my neck. By the way, a "Two-Step"? Can you imagine merrily dancing to this piece? Perhaps with a pom-peiius attitude!
Kaiser Jubilee March
Edward Taylor Paull - 1913: What a difference a year makes! Hmm? Pictured on both editions of this beautiful and stunningly executed cover is "Major" Paull himself offering a rose in homage to a figure of Emperor/Kaiser William II (Wilhelm) of Germany on his 25th anniversary as ruler. Paull expert Wayland Bunnell notes that the composer belonged to a German-American organization, had made a couple of visits to Germany around this time, and may have actually met the ruler himself. He also speculates that the "Major" rank either refers to Paull's position in the organization, or was possibly conferred upon him in Germany at some point, but that it does not indicate an American military rank. This piece was also released simultaneously in Germany as Jubiläums-Marsch, one of the rare Paull publications with a separate edition specifically edited for a non-English foreign market, rarer still due to slow overseas sales. However, just one year later, World War One (working title, The Great War) broke out and it suddenly was not so cool to be keen on the Kaiser. As a result, this march was likely pulled out of circulation by the time the U.S. became involved in the conflict, although a considerable number had been printed. By the end of the war Paull had already honored the French with a march and most certainly maintained his popularity as a notable American patriot.
M. Alexander, arr. by Edward Taylor Paull - 1914: The cover for Ticklish Sensation has more to recommend to this piece than the contents. The identity of the composer escaped my research, but they did have a few other pieces in the Paull catalog, though hard to find anywhere else. This is a simple non-syncopated march, actually closer to an intermezzo, that is through-notated with all of the repeats written out, and not cast in the classic Paull mode of repeating the opening sections, in spite of his arrangement credit. Of note is the unusual trio and derivatives of it divided into 12-bar sections. It was the innovative Hoen illustration on the cover of this piece that has made it a desirable collectible to this day.
|Egyptian Glide (Two Step) Egyptian Glide (Tango)|
Alexander Maloof, One-Step arr. by Edward Taylor Paull - 1914: This entry represents a very unusual duality not just for the Paull catalog but ragtime era pieces in general. Maloof was a talented concert pianist from Syria who had his own set of suites in Carnegie Hall during the 1910s where he taught, later moving to the Carnegie School in New Jersey to finish out his career. While many ragtime or dance pieces were available in both instrumental and song versions, and some of the more dynamic entries in the Paull catalog were available in four-hand and even band versions, this is one of the few that was available as the same piece, ostensibly, but in two different dance styles. The core of this adventurous tune by the talented Arab-American composer and later bandleader, is the same, but the left hand rhythm in particular differs between the two. The tango was ostensibly the original composition (although it does not quite qualify as either a tango, being more of a modified oriental habañera). Paull had to do little but straighten out the left hand passages to create the two step version. His thinking on this will never be known, but it can be surmised that the march-oriented composer felt that many of his customers might have trouble unraveling the unusual "tango" rhythm, thus he would reasonably have offered an alternative. In any case, it is a lively modal piece in rondo format, with both versions fun to listen to and play. In this case, knowing it really only takes but one (pianist) to Tango, I have added quite a bit to the tango version to really make it dance. So live in de-Nile for a minute and kick up your heels. Tut tut!
|Paull's Hesitation Waltz|
Edward Taylor Paull - 1914: The Hesitation Waltz is said to have originated in the more refined venue of New England, namely Boston, around the time of the much less genteel animal dances. Vernon and Irene Castle were known to have used it as early as 1911, and some dance schools adopted the form and music as a way of teaching the waltz with some restraint. Unlike a standard waltz which has the relentless 1-2-3 1-2-3 rhythm, the hesitation waltz has points at which one can stop and adjust, contemplate, or set up the next move. The starting and stopping of the left hand rhythm also infuses variety in the performance, and allows for a number of possible steps for stage dancers during these breaks, such as double steps or spins. Paull's entry is a perfectly fine example of the genre, although parts of it are similar to many of his march melodies. The most striking feature is the modulation between the repeat of A and the C section, which raises a fifth instead of the usual fourth. I hesitate to say much more on this topic, however.
|Herald of Peace|
Edward Taylor Paull - 1914: This represents a rare instance where Paull is not listed as the marquee publisher for his own piece, even though his company ultimately printed and distributed it. There was a purpose to this as Paull explained within: "The object of the Herald of Peace Society to whom this March has been donated by the composer, is to create a relief fund from the profits realized through the sale, which fund will be distributed by the American Red Cross for the benefit of the sick and wounded and destitute mothers and children in the war-stricken countries." The war in Europe had been growing for a few months by this time. Heading up the effort for American-sponsored relief was Miss Mabel T. Boardman, Chairman of the National Relief Board of the American Red Cross. The sentiment in the U.S. at this time was largely as it was during the Vietnam and later Iraqui conflicts - something that many Americans did not believe we should be involved in, but ultimately were. In any event, the Red Cross still carries out the same mission around the world in countries often devastated by war, or other catastrophic events like the 2009 earthquake in Haiti. Where the military may be regarded as enforcers of the peace (sometimes), the Red Cross, both in America and worldwide, are still the true Heralds of Peace and Heralds of Mercy. While it has a 1914 copyright, this march did not see a general release until late in 1918, almost simultaneously with the November 17 armistice. On the later releases, which greatly outnumber a potential limited run in 1914, the word VOID is stamped over the explanatory which asks for donations to the society, whose leader had died of influenza weeks before the release.
Edward Taylor Paull - 1915: The Guard in Ireland was similar in many ways to our own National Guard. They were largely used to quell domestic problems, but often assisted the army in times of need. For a number of reasons, Tipperary was quite the topic in the 1910s, and there were several pieces written about it. By combining the town with the famed Irish militia unit, Paull was able to conjure up yet another inspiring march. Incidentally, it was shortly after this piece was published that the structure and purpose of the guard in Ireland was toned down considerably by the ruling powers, part of which contributed to the ongoing conflicts in that country.
|Battle of the Nations|
Edward Taylor Paull - 1915: In anticipation of the coming "Great War", which was already well underway in Europe, Paull managed to exploit the public's interest in war with a grand title and a fanciful cover that even included the recent advent of aerial attacks. It opens with an ambitious and extended prelude that announces each of the countries involved in the battle, such as a Scottish bagpipe tune, The Marseilles for France, a German melody, and boldly enough, Yankee Doodle - this final inclusion two years before the U.S. had even announced their entry into the World War. It is otherwise full of the usual marching effects and bugle calls, a lots of cannonading. Patriotic consumers flocked to buy it and put it on their piano as a conscious support of the war effort. Whether that includes advocating our involvement, and what Paull's take on this topic was at that time is still unknown.
Edward Taylor Paull - 1916: A long standing fight in this country was that of the female half of the population trying to get recognized by society through constitutional action, a cause which they won shortly after this piece was published in 1916. Among the previous well-known fighters for this cause, and ancillary causes such as prohibition, were Carrie Nation and Susan B. Anthony. Max Morath once quipped that it was a non-fortuitous coincidence of timing how women were given the right to vote, and then helped to elect (repeat slowly) Warren G. Harding. Paull was either backing the cause, or trying to generate more sales through topical titling of his latest march. Either way, it is "respectfully inscribed to womanhood of the universe, which seems to be inclusive of the fair gender anywhere they might be! The following poem is included as the only description for the piece: "For though she almost blushes to reign, Though love's own flowers wreathe the chain, Disguise the bondage as we will, 'Tis woman - woman rules us still." OK. Sounds good to me!
|Battle of Gettysburg|
Edward Taylor Paull - 1917: The Battle of Gettysburg, which took place on the first three days of July, 1863, was one of the bloodiest single conflicts in American History. More lives were lost on that battlefield than during the Vietnam and Korean wars combined. It was still a vivid memory to many veterans still alive more than fifty years later when this descriptive piece was released. The cover depicts the most famous aberration of the last day, Pickett's Charge, in which whole battalions of Confederate soldiers marched across an open peach orchard to a certain death. Pieces such as this one tend to stir the military spirit in the listener, but with the conflict still in the memory of many who remained divided as to whether they were Yankees or Suth'ners, it likely did not evoke too much patriotism.
|Hurrah! For the Liberty Boys, Hurrah! Lyrics|
Words and Music by Edward Taylor Paull - 1918: Even with advancing age, Paull wasn't depleted yet of either his enthusiasm or his penchance for exuberant marches. This patriotic march song (and two step) heralded the return of American troops from The Great War (the working title of World War One). The photo on the cover is one of an actual homecoming parade. The end of the war did not negate the popularity of many pieces written during the war, such as K-K-K-Katy and Over There, but anything that reinforced our feeling of victory sold well at Woolworth's. Paull's gift was salesmanship through hyperbole and march writing in that order, so his attempts at lyrics were occasionally clumsy. This song, however, stands out a little better than some of his previous lyric efforts. Hurrah!
|The American Wedding March|
Edward Taylor Paull - 1918: After a long line of historical, disaster and war or martial themed tunes, this was a radical departure for Paull in many ways. The motivation may ultimately have been a combination of adding something useful to the American repertoire of event music, as well as finding a new way to keep his aging inventory and composition style fiscally alive in the post-war era. Not that the more traditional Bridal Chorus by Richard Wagner (from Lohengrin) didn't need some healthy competition. In my capacity as a wedding pianist/organist, I often try to steer away from the Wagner because it is essentially used for a mock wedding of a prostitute in the overly-long opera, hardly the type of material a blushing bride really wants to be associated with. While this piece is perhaps not as dynamic as Trumpet Voluntary or the oft-used Canon in D, it has merits. It can be (humorously) assumed to some degree that the church E.T. Paull frequented was relatively long, or that weddings he observed there had a large number of attendants. It is still a worthy wedding piece with lovely dynamic contrast, a quiet mid-section, and a very dynamic trio for the bride's trip down the aisle. Works well on both organ and piano to boot, a lovely marriage of Paull and his music.
Edward Taylor Paull - 1918: General John J. Pershing, the supreme commander of the American Expeditionary Force (A.E.F.) sent to Europe during "The Great War," was lauded by many in both song and marches. In a time where some were vociferously opposed to our entry into that conflict, supported by such song as I Didn't Raise My Boy To Be A Soldier, Paull and George M. Cohan chose to rouse the public with their blatantly patriotic tunes. Paull's was boosted by a bold cover utilizing an inspiring design created by the U.S. Committee on Public Information. There was also a film of the same title released around the same time, popular into the middle of 1919. This piece is only loosely associated with the film, but certainly must have seen some benefit as a result. Pershing actually got the job because his predecessor, Major General Leonard Wood, referred to President Woodrow Wilson as "a spineless rabbit", therefore relinquishing any possible glory.
|Spirit of France|
Edward Taylor Paull - 1919: At the end of The Great War in late 1918, it was very popular to be French or know someone who was French. For some American people, it was still fresh in their minds that France gave the United States the Statue of Liberty, and that we owed them something for such a gift. So when the Kaiser went after the French, The United States and Britain took umbrage, and helped them defeat the forces of evil. In spite of overwhelming odds, the spirit and determination of the French (not to mention their hospitality and gratitude) seemed to rub off on the visiting soldiers. A decidedly military march, the subtext inside quotes a stirring battle communication between Général Foch and Général Joffre at the battle of La Marne. Even more stirring is the cover, which depicts the ghost of Joan of Arc guiding "her boys" to battle and certain victory. Viva la Francé!
|Vanity - Valse Idyl|
I. J. Schanes - 1919: Near the end of E.T. Paull's publishing career, the output was less march oriented, and headed into other areas, although not necessarily mainstream for the time. His name also appeared less frequently as an arranger. This is one example of what could be termed a parlour piece, or even something suitable for a student recital. Vanity is not a particularly difficult waltz. One of the more interesting devices used is the hesitation in the left hand, where the bass octave and first chord are struck, but the second chord is omitted, leaving a space, or hesitation. The cover, by one of the famous Starmer brothers, is simple but intriguing, portraying a fairie [older spelling] (as indicated by the wings) admiring her reflection in a pond.
|Love's Fascination Waltz|
I.J. Schanes, arr. by Edward Taylor Paull - 1920: This is a follow up "valse idyl" by Schanes, coming soon after his Vanity. Similarly simple, although with a little more depth infused by Paull's arrangement, it has few hallmarks of the jazz age that was exploding around it. The beautiful cover was rendered in monochrome, uncharacteristic for Paull, but perhaps a budget measure in anticipation of minimal sales for the piece. While the waltz was not quite dead, it found favor mostly with the aging population of the Victorian age, and in spite of efforts to update it with syncopations or newer chord progressions, it was still a 19th century form. This would be perhaps the last of the genre presented in the Paull catalog.
|Dreamy Oriental Melody|
Blanche Ring (M) and Ida Simpson (L) - 1920: Blanche Ring was well established by 1920 as one of the top entertainers, having gone from her introduction of Bedelia in 1903 and her signature Rings on My Fingers, Bells on My Toes in 1909, to a movie actress of some note as well starting in 1915. Many of her early performance successes, including Come Josephine in My Flying Machine were captured on early recordings as well. She also was known for mime impersonations of other newsworthy folks. But in addition to these talents, Ring composed from time to time. How Paull took on this particular composition is not known, especially since Ring had been commuting back and forth to California since 1916. However, it certainly was the most colorful of those pieces on which her picture appeared. The song is a passably enjoyable tune that does evoke some of the essence of what was considered "orientaL" music during this time period. Ring continued to make appearances in on stage until at the late 1930s and film cameos into the early 1940s.
|Custer's Last Charge Lyrics and Explanatory|
Edward Taylor Paull - 1922: General George Armstrong Custer wrote that he often felt misunderstood by his men and some of his superiors. History has shown him to be an overachiever, largely due to a rivalry with his brother Thomas Custer, who had shown a great deal of leadership and valor during the American Civil War, where he received two Congressional Medals of Honor. George did have a big ego and a propensity for self-absorption. These, more than uninformed decision making, may have led to the death of Custer and 265 men of the Seventh Cavalry Regiment at the hands of well over 2,000 Sioux and Cheyenne Native Americans at Little Bighorn in 1876, better known as "Custer's Last Stand". Rest assured that this well-crafted late Paull work is replete with the expected descriptions of the battle, including a reference of Custer as "White Chief Long Hair," and actual Native American lyrics and melody in the beginning.
Elizabeth G. Black, arr. by Edward Taylor Paull - 1919/1923: One might believe that with the coming of the Jazz Age, the march would be a dead music form. Almost! However, with a decided victory after an often controversial war, the country's populace was simply glad to have the boys back home, and parades were held for some time after the Armistice. This was just one of many pieces from the Paull catalog celebrating that victory. Breaking with the traditional march form, it more closely follows accepted ragtime format by going back to the A section after the B, and of course one more iteration of A at the end. Black had originally copyrighted this march just after the war, but no earlier edition of it has been found, so Paull's arrangement may the first actual publication. It also stands out in the catalog as one of the only marches with a single key signature, being entirely in Bb. This could be considered one of the last gasps of a long line of Paull-arranged marches.
|Sheridan's Ride Explanatory|
Edward Taylor Paull - 1922: One of the more interesting battles near the close of the Civil War took place in Virginia in the Shenandoah Valley, resulting in a no-loss no-gain situation. Confederates overtook a regiment of General Sheridan's in his absence and sent them fleeing north. Sheridan was on his way back when he encountered his troops in retreat, and as the story goes, he and his trusty steed inspired the men to turn around and chase the Confederates back out of their camp. It wasn't the result of what was achieved, but the determination and leadership of Sheridan that inspired a Longfellow-type poem about him written down by Thomas Buchanan Read. Paull was working on the Custer story at the same time, a battle with a considerably different outcome, so may have thought this to be a nice balance. He touts it as a companion to Paul Revere's Ride, although it stands fairly well on its own.
|The Four Horsemen of the Apocalypse|
Edward Taylor Paull - 1924: A grim topic was this one which Paull chose to write a march about. While most of his disasters were about natural phenomenon, this was about one of the most feared quartet of riders in legend. It is also one of the darker covers. Taking on a story that was not only of Biblical proportions, but actually from the Bible, was a bold move on Paull's part. This late entry into the Paull catalog starts out rather cheerfully, but one can hear elements of silent movie drama in the B section. The remainder of the piece is rather upbeat in spite of the topic at hand. It is also one of the only single-key marches by Paull, being entirely in Bb. The positive views of the horsemen are said to have represented humankind in various stages of existence. The more common story is that they represent Pestilence (the swordsman), War (the archer), Famine (the scalesman), and Death (the grim reaper). The impression one may take away from listening to this piece is that they were a rather happy bunch of guys who liked their jobs!
|Spirit of the U.S.A.|
Edward Taylor Paull - 1924: This is the last of the great Paull patriotic marches published during the composer's lifetime. There may have been more, but beyond one posthumous release, any further pieces of this nature have likely been forever lost. Since thoughts of war were in the past in the midst of the roaring twenties, the aging composer called on a topic that would fit his decades-old style, blatant patriotism. In fact, it invokes the "spirit of '76," and may have been intended to coincide with the U.S. sesquicentennial in 1926. As a further tie-in, the first bars of the introduction quote the famed Revolutionary War piece, Brighton Camp (later known as The Girl I Left Behind Me). There are also some nods to National Emblem in terms of style and content, making this one of the better Paull marches in terms of adaptability to a full band. The cover lithograph invokes the famous image of rag-tag Revolutionary War soldiers bravely marching in the face of incredible odds, also reenacted by Bugs Bunny a couple of decades later. War is hell, but that's the spirit.
|Top of the World Anouncement on back|
Edward Taylor Paull - 1926 (posth): One of the last frontiers is represented here in a couple of ways. First, the elusive North Pole had finally been reached by airplane in a famous expedition led by Lieutenant Commander Robert Byrd (who retired as an Admiral), and was funded for the most part by National Geographic magazine. The event was a great public relations boon for the magazine, but also considered a great achievement by mankind - something that would be eclipsed fifty years later by a trip to the moon. Paull, ever cognizant of the public's thirst for topical music from his firm, wrote this piece in advance of the trip but never published it before his death in 1924. It was Maurice Richmond, longtime friend and supporter of Paull, who bought the company and published this final E.T. Paull piece, with the colorful cover, Paull publishing house banner and all, as a tribute to the great march publisher. In spite of promises on the rear cover to continue to publish more of his manuscripts left behind, no more appeared that we know of. Still, Paull was on the top of the world as long as he was creating the American heirlooms his firm was so well known for. So a fitting final tribute it is.
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