Voice and Spirit
The Alleghanians

- Chapter 1  Part 2  Our Own Native Land  1849-1850 -

Hutchinson Family Singers Web Site



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Our Own Native Land
1849-1850
Chapter 1  Part 2


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An 1850 Alleghanians songster quoted extensively from a good number of press notices from around this time, many of them undated.  It is highly likely that business manager M. T. Brockelbank deserves credit for gathering up these reviews, since Alleghanians documentation of this sort is far less plentiful in nearly all other periods.  This turned out to be a pivotal point in Alleghanians history.

The Wisconsin Argus said of the Alleghanians, "[T]heir performances are beyond criticism. . . .   Voices so perfectly trained to every variety of descriptive expression, from the distant warbling of birds to the uproar of an ocean storm, we never before heard.  Those deep, earnest, whispering tones in which they perform soft and delicate passages, beggars all our former conceptions of the capacities of the human voice  -  so full, so clear, so distinct, and yet as soft as the dying tones of a distant church bell."

The Bulletin out of Detroit, Michigan, said, "Better voices and better disciplined ones can not be found in the country."   The Louisville (KY) Journal added, "[T]here is the widest range of sentiment, from the most soul-stirring pathos to the most side-shaking comedy."   A writer with the Philadelphia North American and United States Gazette thought an opening-night audience somehow "unanimously awarded to the 'Alleghanians' the enviable distinction of being the best company of glee and quartette singers that ever sung in Philadelphia."

References in the next two notices to the female vocalist call to mind reviews dated 1851 and 1852 that name Miriam G. Goodenow.  It seems quite likely that she already was singing with the Alleghanians by the time the following notices were written.

"The voice of the lady is exquisitely sweet, and gushes forth with a power and pathos enchantingly effective," said the Pittsburgh Gazette.

"The female voice is of unusual compass and sweetness," said the Albany Journal, "and her solos are sung with great effect.  The bass has strength without harshness.  The tenor is full of melody, while the second is exceedingly soft and musical.  Indeed, we have never heard a better combination of sound, or that combination more harmoniously and artistically blended."

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"An 1850 Alleghanians songster quoted extensively from":   The dated quotations in the 1850 Alleghanians Songs and Quartettes songster are all from 1849 and 1850, and it seems highly likely that the undated quotes are mostly if not entirely from the same years.

"The Wisconsin Argus said of the Alleghanians, Their":   "The Alleghanians," Wisconsin Argus, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

"The Bulletin out of Detroit, Michigan, said, Better voices":   "The Alleghanians," Detroit: Bulletin, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

"The Louisville (KY) Journal added, There is the widest":   "The Alleghanians," Louisville Journal, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

"A writer with the Philadelphia North American":   "The Alleghanians," Philadelphia North American and United States Gazette, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 4.

"The voice of the lady is exquisitely sweet":   "The Alleghanians," Pittsburg Gazette, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

"The female voice is of unusual compass and sweetness":   "The Alleghanians," Albany (NY?) Journal, n.d., in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

A recently-arrived notice of a January 1850 Alleghanians concert in Hartford, Connecticut, described the makeup of the group as two women and three men.  Source: "The Alleghanians," Hartford Daily Courant, January 24, 1850, p. 2.  So the phrase, "The female voice," in the excerpt which is being footnoted here, and the phrase, "The voice of the lady," in the Pittsburg Gazette excerpt are quite interesting because they indicate one female singer.  Some zigzagging back and forth between quartet and quintet status is apparent.   A December 15, 1849, New York Tribune feature article, which is quoted at length in the 1850 songster, implies that this outfit was a quartet.  As stated in Chapter 1 Part 1 page 3, scores dated 1847 to 1852 and bearing covers illustrated with pictures of group members also imply that the Alleghanians' best-known configuration was that of a quartet.  In fact, the great majority of Alleghanians notices I have seen from the late 1840s and early 1850s suggest that the group was a foursome.

A brief January 5, 1852, news item about an Alleghanians concert that night at the Broadway Tabernacle said "a new name is announced to sing Jenny Lind's Echo Song."  Source: "The Alleghanians," New York Daily Tribune, January 5, 1852, p. 5 col. 3.  This is very puzzling, and so far I have not been able to learn the "new name."  It would be interesting to know whether the practice of bringing in a guest vocalist to sing a specialty number was an isolated incident or a recurring practice.  This question is potentially of some importance, as is the matter of the company evidently alternating, to a degree, between having four and five members.  If you have specific information related to either of these issues and you would be willing to share what you've got, please e-mail us by way of the contact link near the bottom of the Web page.


Page 8

The New York Daily Tribune of December 15, 1849, included an article, quite extensive for the times, about the English glee, featuring several points of considerable interest.   "Its tones are in the natural compass of the human voice, and its melodies move energetically and independently, now approaching and now receding from each other, like the bright streams of [the English and the American's] native land, and anon gracefully mingling their outlines, yet each preserving its independent form, like the blue mountain-horizon that at sunset bounds his wide and picturesque view.  The glee, in short, is as natural and indispensable an object of admiration to the full-grown and thoroughly developed Englishman or American, as his rivers, his mountains, or his azure skies."

The Tribune article confidently declared that the Alleghanians'  "public performances are so perfect and exquisitely expressive of the very spirit of the English glee, that they promise to revive the popularity of this charming style of music."

The church-going, hymn-singing, moral reform-promoting, Tribune-reading members of the Hutchinson Family quartet must have been surprised to see that this next passage was written about anyone other than themselves.   "There is one idea which we would impress upon our readers in the country where 'The Alleghanians' may happen to pass," said the Daily Tribune.   "It is that in the principal churches of Europe, and the principal cities of this country, the choir consists of only four voices, and that 'The Alleghanians' are an admirable model for amateurs to study.  They have already laid the foundation of several admirable church quartettes in different parts of the country, and in this way their influence is destined to be widely and actively beneficent."

This late 1849 New York Tribune article could be read to suggest that it was understood the Alleghanians was a quartet.  Yet a January 1850 Hartford Daily Courant concert review said, "The company consists of two ladies and three gentlemen."  Keeping track of the size and membership of this group is seldom easy.  The Hartford Courant notice said, "The high reputation which has preceded the Alleghanians, was fully sustained by their performances. . . . "   "The ladies voices are very fine, uniting rare richness and purity of tone, with great fullness and flexbility.  The bass voice is of remarkable richness and power.  The other voices are also very fine.  In their Quartetts their voices blend most beautifully, and in many strains their harmony is inimitable."

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Many Americans anticipated that Gen. Zachary Taylor, as president of the United States, would be friendlier to the institution of slavery than he actually proved to be.  The abolitionist Hutchinson Family, during the 1848 presidential campaign, even went so far as to sing, "We'll Never Vote for Taylor."   As President Zachary Taylor turned out to be a relief to antislavery forces, he was equally alarming to politicians in the slave states, many of whom threatened secession.

Members of the Alleghanians, collectively, did not normally weigh in publicly on the slavery question except in a very general way.  Secession was a very different matter.  Their social-reformer friend, Dr. Jason R. Orton, crafted verses which William H. Oakley, evidently the most reform-minded of the singers, set to music.  And doubtless with a zeal fit for the occasion, the Alleghanians sang,

Hail to our beautiful land!
Shall we prove false to thee?  Never!
We pledge thee our heart and our hand,
Our glorious Union, for ever!

"Our Glorious Union, For Ever!"

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"Its tones are in the natural compass of the human voice":   Headline unknown, New York Daily Tribune, December 15, 1849, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 2.

"The Tribune article confidently declared that":   Headline unknown, New York Daily Tribune, December 15, 1849, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 2.

"There is one idea which we would impress upon our readers":   Headline unknown, New York Daily Tribune, December 15, 1849, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 2.

"Yet a January 1850 Hartford Daily Courant concert":   "The Alleghanians," Hartford Daily Courant, January 24, 1850, p. 2.

"Members of the Alleghanians, collectively, did not":   The Alleghanians' version of Jesse Hutchinson's "The Seasons" included these lines:

"The Seasons: A Farmer's Song"

O! happy be, the farmer free,
In his mountain home of liberty,
For Heaven gave to the true and brave,
The hills where ne'er could breathe the slave.

"The Seasons; or, Farmer's Song," in Alleghanians, Songs Sung by the Alleghanians ([New York:] Musical World, 1852), 28-29.

"Hail to our beautiful land! Shall we prove false":   "Our Glorious Union, For Ever!" lyrics: J. R. Orton, music: Wm. H. Oakley, first line of text: "Hark! hark! hark! O'er the swelling gale, Glad songs of triumph come. In Songs and Quartettes, Sung by the Alleghanians, 5-6 ([New York]: Message Bird Office, 1850).


Page 9

The year 1850 was easily among the biggest in Alleghanians history with regards to the number of songs connected with the group that were written, published, or both that year.  In addition to "Our Glorious Union Forever," songs that were new to the world or, in some cases, possibly just new to the Alleghanians included "The Dying Child's Request," "The Emigrant's Tribute to America," Jesse Hutchinson, Jr.'s "Good Old Days of Yore," "Kate Was Once a Little Girl," "The Old Farmer's Elegy," and "Where Shall the Soul Find Rest" arranged as a chant.

"Where Shall the Soul Find Rest"

Tell me, ye winged winds, that round my pathway roar,
Do ye not know some spot, where mortals weep no more?
Some lone and pleasant dell, some valley in the west,
Where, free from toil and pain, the weary soul may rest.

At the end of December 1849, James Hutchinson died.  He was the fifth child of Jesse and Susan Hutchinson.  The death of little Jimmy was the inspiration for one of Jesse's most beloved songs, "The Good Old Days of Yore," which was written early in 1850 at Poukeepsie, New York.  "There were four verses in all," said John W. Hutchinson, "and they affected us deeply.  When he had finished, and while we were each sitting under the spell of the sentiment, I said, 'Jesse, cannot you carry the thought a little farther and bring it to the meeting at our Heavenly Father's door?'  He thought a minute, then seized a pencil, and went apart from us.  In a short time he returned with a verse added:

Though our days on earth are fleeting,
And all temporal joys retreating,
Yet we hope for another meeting
Better far than days of yore
When through heavenly courts ascending,
And with angel voices blending,
We shall sing on, without ending,
At our Heavenly Father's door
Sing the New Song forevermore."

"The Good Old Days of Yore"

"The Good Old Days of Yore" was in the Alleghanians' repertoire for decades.

"Voice and spirit loved to cheer it and the very birds to hear it . . . "

The Alleghanians had a couple "echo" tunes, one of which, "The Herdsman's Song," had already achieved tremendous fame under the nickname, "Jenny Lind's Echo Song."  Another was the Alleghanians' own "Alpine Echo Quartet."  The group performed a Hutchinson Family oldie, "Axes To Grind," which was out in a new edition.  And the version of "Ben Bolt" that the Alleghanians sang famously, set to music by R. Sinclair, is dated 1850.

"The pieces sung by the Alleghanians," said Dr. Jason R. Orton, "are selected with great care, and are of a highly moral and intellectual character; while their Music is distinguished by great simplicity and effectiveness, unusual skill in the management and harmonizing of voices, and a distinct and artistic elocution: and if we have any germs of a distinctive national Music among us, we shall be obliged to look for them to that school which these Vocalists represent."

Dr. Orton continued, saying, "[A]t present, and for a considerable period to come, our hope of reaching the masses  -  of getting hold of, and arousing to the love of song, the great musical heart of the people, must rest itself upon a comparatively simple music.   In this point of view, the school to which the Alleghanians belong is endowed with a nationality and rises to an importance which can not fail to command our attention. . . . "

The Alleghanians troupe was at Cleveland in mid-May 1850.  "There was one of the largest and most fashionable audiences ever assembled in this city, to hear these American songsters last night," reported the Plaindealer.  "Empire Hall, which only seats four hundred, had actually over six hundred people in it, and it was estimated that about two hundred went away who could not get a [seat]."

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"The year 1850 was easily among the biggest":   Not only is a timeline of Alleghanians concert appearances in only the earliest stages of development, but also we have much too little information to go on as to the occasions, dates, or even years when individual songs were introduced into the Alleghanians repertoire.  The songs in the main text, that I am connecting with 1850, are fairly safe guesses.  But it is worth keeping in mind that they still are guesses.

"Tell me, ye winged winds, that round my pathway roar":   "CHANT - Where Shall the Soul Find Rest," in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 16.

I do not yet have documentation as to which version of "Where Can the Soul Find Rest" the Alleghanians sang, though the Baker Family version with a melody attributed to John C. Baker seems most likely.  But the 1850 edition, cited at the head of this footnote, was performed as a chant; and the chant was the creation of James M. Boulard, a founding member of the Alleghanians.

"There were four verses in all, said John W. Hutchinson":   John Wallace Hutchinson, Story of the Hutchinsons (Tribe of Jesse), 2 vols. (Boston: Lee and Shepard, 1896), 1:261.

Though "The Good Old Days of Yore" was written by Jesse Hutchinson, Jr., and was first performed in public at Hutchinson Family appearances, it may very well have been the most beloved song sung by the Alleghanians.  It was not by design but still a very happy occurrence that the title selected for this booklet comes from "The Good Old Days of Yore."

"Another was the Alleghanians' own Alpine Echo Quartet":   "Alpine Echo Quartet," "Composed and Sung by The (Famous) Alleghanians," first line of text: "Hark! Hark! while we're gaily singing These glorious hills among Echo's voice clear ringing Sends back our joyous song" (Boston: Oliver Ditson & Co., 1850).

Thanks to Kati Szego for information for this score citation.

"The pieces sung by the Alleghanians, said Dr. Jason R. Orton":   J. R. Orton, New York, July 1850, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 1.

"Dr. Orton continued, saying, At present, and for":   J. R. Orton, New York, July 1850, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 1.

"There was one of the largest and most fashionable audiences":   Headline unknown, Cleveland Plaindealer, May 16, 1850, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 4.

The passage from the Cleveland Plaindealer which was quoted in the main text ends, saying, "about two hundred went away who could not get a sight."  Sense can be made of this wording in the broader context of the quote.  Nonetheless, it may be a little more likely that the original word, or the word that was intended, was "seat," making for a more typical thing to say in these circumstances:  about two hundred went away who could not get a seat.


Page 10

The group was in Canada by the first week of June, with a string of concerts leading up to appearances at Toronto on the 8th and 10th.  Evidently the performances in that city were quite remarkable.  According to a subsequent notice of the closing concert at the Lyceum, which was "crowded with a highly respectable audience," The Church said, "[T]heir exquisitely simple melodies have a closer alliance to the character of sacred music than those of any performers we have ever heard.  Many of their songs were so solemn and sad as to superinduce a graver tone of feeling and thought than the concert-room is generally expected to produce; but to minds sobered down by the graver realities of life, this was a charm as grateful as it was novel and unexpected."

A Tuesday, August 13, concert  -  "For One Night Only"  -  at Wantastiquet Hall in Brattleboro, Vermont, produced a thing which, in the far-off early 21st century, would help raise awareness of the group in a wholly new era.  It is the publicity sketch of the Alleghanians quartet members, with its own primitive charm, which is used as an illustration at the top of many of these Web pages.

The Alleghanians tour went through Rochester, New York, in late September.  "We understand these favorite vocalists have made an engagement to visit England," said the New York Daily Tribune, "and that they will sing in London during the World's Fair in that city."  For months to come the activities of the Alleghanians are thinly documented in available records, but a trip to England at this time seems quite doubtful.  Nonetheless, it may be of interest that a United Kingdom tour was thought to be a reasonable next step and, as far as we know, members of the Alleghanians were up for the trip.

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On Monday, October 14, Tripler Hall was opened in New York City for a group of invited guests.  In a notice of that inaugural event, one New York newspaper reported, "The general view of the vast saloon is favorable, and it seems eminently adapted to the purposes for which it is intended; it is certainly so far in advance of any Hall or place in the City as not to be named in the same catalogue."  The new venue was then opened to the public on October 17, for a grand program starring Anna Bishop and featuring Beethoven's Symphony No. 5 in C minor.

In 1854, the New York Times called the building "the first great Music Hall erected in New-York.  The greatest work of the greatest Composer was the first music heard within its walls."

Tripler Hall was not without its flaws.  Evidently the prevailing thought from the start was that a quick-spreading fire would result in a tremendous loss of life because of inadequate emergency exits.  "In case of any panic or real danger," said the New York Daily Tribune, "there is not the slightest doubt that a catastrophe, unequaled in the history of similar events, would occur."  Unshaded gas lights  -  a far less glaring problem  -  apparently caused some degree of visual difficulties, particularly for the artists on stage.  Also, there were said to be ventilation issues.

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"The group was in Canada by the first week of June":   Headline unknown, Hamilton (Ontario) Spectator, June 6, 1850.  Please note: There is a small, apparent dating problem with the copy used; and I could not totally rule out the possibility that the Alleghanians item actually ran in the Hamilton Spectator a few days earlier than the June 6 date.

"According to a notice of the closing concert":   Headline unknown, The Church (organ of the Established Church), Toronto, Canada, June 13, 1850, in Alleghanians, Songs and Quartettes, Sung by the Alleghanians ([New York]: Message Bird Office, 1850), 3.

Evidently these were the first Alleghanians concert dates in southern Ontario since fall 1847, and it seems possible that this may have been the first Canadian tour in that time.

"A Tuesday, August 13 concert For One Night Only":   I have never seen a captioned group illustration of the Alleghanians, nor have I seen a captioned likeness of any of the individual men in the company's early lineups.  In the rough sketch, below the words "For One Night Only," which appears at the tops of many of these Web pages, it is my guess  -  and I emphasize the word, "guess"  -  that, from left to right, the men are James M. Boulard, William H. Oakley, and Richard Dunning.  To tell the truth, I have no idea where I got this notion, and I pass it along for what it is worth.  It could be fun to learn if I am right, on one hand, or how far wrong I may be, on the other.  Anyway, we are left to guess about so much, why not guess as to which Alleghanian is which?

"We understand these favorite vocalists have made":   "The Alleghanians, New York Daily Tribune, October 1, 1850, p. 2 col. 2.

"In a notice of that inaugural event, one New York":   Notice of Tripler Hall opening in unnamed New York "morning journal," quoted in "Another Conflagration," New York Daily Times, January 9, 1854, p. 1 cols. 4-6.

"In 1854, the New York Times called the building":   "Another Conflagration," New York Daily Times, January 9, 1854, p. 1 cols. 4-6.

"In case of any panic or real danger, said the New York":   "City Items," New York Daily Tribune, December 31, 1850, p. 7 col. 6.


Page 11

The anticipated difficulties with evacuating a large audience in case of an emergency is apropos to the subject at hand.  For instance, records of the Alleghanians note examples of the group singing to audiences numbering well above a hall's intended capacity.  Documentation of the Hutchinson Family vocal group, which is far, far, far more extensive, includes more numerous examples.

Taking into account that there was a widely-held belief it would be impossible to safely evacuate even a typical size Metropolitan Hall audience in the advent of a real emergency, consider the following.  "The entire number of seats in the house was 3,500," reported the New York Times.  "On extraordinary occasions, humanity packing very closely together, the building probably held 4,000 or 4,500 persons.  By removing the movable seats on the principal floor, the capacity of the house could be reasonably increased to 5,000."

The last times the Alleghanians sang at Metropolitan Hall, it was almost certainly to densely packed crowds.

By this time, these Alleghanian vocalists were singing a piece with a puzzling history.  "The Ship on Fire," a hit song dating back at least to 1840, was announced by title on countless Henry Russell, Alleghanians, and Hutchinson Family concert programs.  The word, "fire," appears conspicuously in the well-known title.  There could be no doubt whatsoever that the subject matter of this piece of musical fiction involved a fire.   A fire in the song.  Yet there are numerous examples in Hutchinson Family history, and also Alleghanians examples, of audience members taking the musical-theater shout of "Fire!" as an actual here-and-now, real-life alarm of flames in the concert hall . . . and needlessly racing for the exits.

Fears of loss of life by fire at Metropolitan Hall were never realized: not because there was no fire, but rather because this great venue burned to the ground in the night when it was not in use.   A judge concluded that the cause of the devastating conflagration was arson.

The opening of Tripler/Metropolitan Hall was a major development in the history of the performing arts in New York City.  Great events in Metropolitan Hall's big concert room featured the principal stars of the classical music and opera fields.  Democratic and Whig party conventions met in the hall, which also was a site for annual meetings and other large-scale gatherings of advocates of municipal reform, woman's rights, temperance, and other leading causes.  Many of the respectable popular music celebrities and ensembles, including vocal groups such as the Alleghanians and Hutchinson Family, gave landmark concerts at Metropolitan Hall, where the acoustics were said to be matchless.  Members of the Alleghanians were likely eyeing the main concert room, from opening day, as a place to triumph.

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"The entire number of seats in the house was 3,500":   "Another Conflagration," New York Daily Times, January 9, 1854, p. 1 cols. 4-6.

"A judge concluded that the cause of the devastating":   "The Broadway Conflagration," New York Daily Times, January 11, 1854, p. 1 col. 4; "The Broadway Fire," New York Daily Times, January 19, 1854, p. 3 col. 3.  See also "Another Conflagration," New York Daily Times, January 9, 1854, p. 1 cols. 4-6.

According to some sources, threats had been made against Metropolitan Hall if Father Alessandro Gavazzi should be permitted to speak there.  Apparently we are to understand that these threats were not thought to be credible.  If you are aware of a circa-1854 print source for this information and you would be willing to share what you know, please e-mail us via the contact link near the bottom of the Web page.  The initial New York Times report of the fire said, referring at first of Metropolitan Hall, "Its last echoes were roused by Padre Gavazzi's Farewell to America."  Source: "Another Conflagration," New York Daily Times, January 9, 1854, p. 1 cols. 4-6.  This project has not tracked the case further, and it is unknown to these pages as to whether a perpetrator or perpetrators were ever brought to justice.

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"Thus far the Lord hath led me on."   - Isaac Watts

One of the main goals for this first edition of Voice and Spirit has been to lay the foundation for an eventual revised, greatly expanded second edition.  Thus far the Lord has led us on.   A full-length biography of the Alleghanians is very much needed, and it is starting to look feasible.  Whether it would take the form of a traditional, hardcopy book or remain as a World Wide Web-only publication is yet to be seen.  Either way, I am hoping many readers of these pages will keep an eye out for Voice and Spirit II.  If it is possible to make a full-length Alleghanians biography happen, my plan is to do it.

Alan Lewis,  August 14, 2007



Voice and Spirit

Then hail, dear Columbia,

The land that we love,

Where flourishes liberty's tree.

'Tis the birthplace of freedom,

Our own native home.

'Tis the land 'tis the land of the free.

Yes yes yes yes oh

'Tis the land 'tis the land of the free.

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Alan Lewis. Voice and Spirit: The Alleghanians (Vocal Group). 1st ed.
Brattleboro, Vermont: Published by the author. 2007.

Copyright © 2007 by Alan Lewis.
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Home: Preface and Table of Contents
Massachusetts, MA, Mass.; Minnesota, Minn., MN; New Hampshire, N. H., NH; New Jersey, N.J., NJ. Essex County, Hillsboro County, Hillsborough County, McLeod County. Lynn Massachusetts, Hutchinson Minnesota, Amherst New Hampshire, Milford New Hampshire, Mont Vernon New Hampshire, Orange New Jersey, City of New York City. Cellist, cello, fiddle, fiddler, melodeon player, violin, violinist, violoncello. Philip Jordan, Philip Dillon Jordan, Philip D Jordan Singin Yankees, Phil Jordan, Ludlow Patton The Hutchinson Family Scrapbook. Index: Singing Yankees. 1860, 1870, 1880, 1900, 1910, 1920, 1930. Birth, born, death, died, divorce, divorced, maiden, marriage, married, single, unmarried. The Boston Globe. Anniversary, audience, band, biography, chorus, church, the Civil War, company, compose, composer, composition, concert, convention, entertain, entertainment, folk music, folk songs, folksongs, group, hand bells, hand-bells, handbells, harmony, instrument, instrumental, lyricist, lyrics, meeting, musician, N E, NE, NEMS, New England Music Scrapbook, Northeast, Northeastern, practice, profile, program, quartet, quintet, rehearsal, rehearse, repertoire, research, show, singer, song writer, songwriter, stage, temperance, tour, trio, troupe, verse, vocal, vocalist, words. Bullock, Jesse, Swiss Bell Ringers, Swiss Bell Ringing. Alleghanian Singers, Alleghanian Vocal Group, Alleghanian Vocal Troupe, Alleghanian Vocalists, Alleghenian Singers, Alleghenian Vocal Group, Alleghenian Vocal Troupe, Alleghenian Vocalists, the Alleghenians, James Boulard, James Madison Boulard, James M Boulard, J M Boulard, Richard Dunning, Mary Durgin, Mary E Durgin, Miriam Goodenow, Miriam Gertrude Goodenow, Miriam G Goodenow, Caroline Hiffert, Caroline E Hiffert, Miss Carrie Hiffert, Miss Hiffert, Jesse Hutchinson Jr, Jesse Hutchinson Junior, Jesse Hutchinson Jun, William Oakley, William Henry Oakley, William H Oakley, W H Oakley, J B Packard, Marie Packard, Mary Packard, Mary E Packard, Miriam Robb, Miriam Gertrude Goodenow Robb, Miriam Gertrude Robb, Miriam Goodenow Robb, Miriam G Robb, Caroline Schnaufer, Caroline E Schnaufer, Carrie Schnaufer, Caroline Schnauffer, Caroline E Schnauffer, Carrie Schnauffer, Caroline Snaufer, Caroline E Snaufer, Carrie Snaufer, Caroline Snauffer, Caroline E Snauffer, Carrie Snauffer, Daniel Waldron, Daniel Gilman Waldron, Daniel G Waldron, D G Waldron. Phineas Barnum, Phineas Taylor Barnum, Phineas T Barnum, P T Barnum, Father Alessandro Gavazzi, Father Gavazzi, New York Times, New York Tribune, Dr Jason Orton, Dr Jason Rockwood Orton, Dr Jason R Orton, Doctor Jason R Orton, Dr J R Orton, Dr Orton. Voice and Spirit: The Alleghanians: Chapter 1: Part 2: Our Own Native Land 1849-1850 Made from an older version of what is now templatedownloadta.htm