1755. The general belief is that it was used by a certain Richard

Shuchburg, a British Army soldier, to poke fun at the decrepit colonial troops. For two decades after that the tune was frequently heard in the Colonies as the means by which British soldiers could taunt Colonials. Once the Revolution broke out, however, the colonists used “Yankee Doodle” as its favorite war song, and it was sung lustily by them when Cornwallis surrendered at Yorktown. Gould’s orchestration emphasizes some of the humorous elements in the song, while giving it some freshness and vitality through his fine sense for orchestral color and striking harmonizations. Charles Gounod Charles François Gounod was born in Paris on June 17, 1818. He received his academic education at the Lycée St. Louis, and his musical training at the Paris Conservatory with Halévy and Lesueur among others. In 1839 he won the Prix de Rome. During his stay in Italy he became interested in church music and completed several choral works. He turned to opera after returning to Paris, his first work for the lyric stage being _Sapho_, successfully produced at the Paris Opéra in 1851. From then on, for many years, he concentrated mainly on opera, winning world renown in 1859 with _Faust_. In 1870 he visited London where he conducted orchestral and choral concerts. During the last years of his life he devoted himself for the most part to the writing of religious music. Gounod died in Paris on October 18, 1893. He is most famous for his operas, and most specifically for _Faust_, though _Mireille_ (1864) and _Roméo et Juliette_ (1867) have also been highly acclaimed and frequently given. Gounod was a composer who conveyed to his music sensitive human values. He was a melodist of the first order, his lyricism enhanced in its expressiveness through his subtle feeling for orchestral and harmonic colors. The _Ave Maria_, while originally a song, is famous in transcriptions for solo instruments and also for orchestra. The interesting feature of this work is the fact that Gounod wrote this spiritual, deeply moving melody to the famous prayer in Latin, against an accompaniment comprising the music (without any change whatsoever) of Bach’s Prelude in C major from the _Well-Tempered Clavier_. The marriage of melody and accompaniment is so ideal it is difficult to realize that each is the work of a different composer from a different generation. Gounod’s masterwork, the opera _Faust_, is surely one of the most celebrated works of the French lyric theater. Many of its selections are deservedly popular. The opera—libretto by Jules Barbier and Michel Carré based on the poetic drama of Goethe—was first performed in Paris on March 19, 1859. Strange to report, it was originally a failure with both audience and critics. Not until it was revived in Paris in 1869 did the opera finally win favor; from this point it went on to conquer the world. One of the reasons for this permanent, if somewhat belated, success, is the sound theatrical values of the libretto. The opera is consistently excellent theater, rich with emotion, pathos, drama, pomp and ceremony. The story, of course, is that of the celebrated Faust legend. Faust makes a pact with the devil, Mephistopheles, to trade his soul for the return of his youth. As a young man, Faust makes love to Marguerite. When she becomes a mother she kills her child. Faust comes to her prison cell to entreat her to escape, but she does not seem to understand him. After her punishment by death, Faust is led to his own doom by Mephistopheles. Perhaps the most famous single excerpt from the opera is the rousing _Soldier’s Chorus_ (“_Gloire immortelle des nos aïeux_”) from Act 4, Scene 3. The soldiers, returning from the war, sing out their joy on coming home victorious. This episode is celebrated in transcriptions either for orchestra or for brass band. Almost as popular is the captivating Waltz in Act 2. In the opera it is sung and danced by villagers during a celebration in the public square (“_Ainsi que la brise légère_”); this excerpt is also familiar in transcription. The Walpurgis Night Ballet Music from _Faust_, though generally omitted from the performances of the opera itself, has become a concert favorite. This music is given in Paris during the first scene of the last act. The classic queens—Helen, Phryne and Cleopatra—and their attendants are called upon to dance to distorted versions of several of the opera’s beloved melodies. There are here seven dances of which six appear in the score only with tempo markings: _Waltz_, _Adagio_, _Allegretto_, _Moderato maestoso_, _Moderato con moto_, _Allegretto_, and _Allegro vivo_. When an orchestral potpourri from the opera is given by semi-classical orchestra, it includes some other beloved excerpts: Marguerite’s “Jewel Song” (“_Je ris de me voir_”), in which she speaks her joy in finding the casket of jewels secretly placed for her in her garden by Faust; the rousing _Kermesse_ or Fair Music that opens the second act, “_Vin ou bière_”; Mephistopheles’ cynical comment on man’s greed for gold, “_Le Veau d’or_”; Faust’s hymn of love for Marguerite, “_O belle enfant! je t’aime_”; the “Chorus of Swords” (“_De l’enfer qui vient émousser_”), a vibrant exhortation by the young men of the village who, sensing they are in the presence of the devil, raise their swords in the form of a cross to confound him. The _Funeral March of a Marionette_ (_Marche funèbre d’une marionnette_) is a delightful piece originally written for the piano in 1873, and after that transcribed by the composer for orchestra. Gounod had hopes to make it the first movement of a piano suite. When he failed to complete that suite, he issued the march as a separate piece of music in the now-famous orchestral version. The opening march music tells of the procession of pallbearers to a cemetery as they carry a dead marionette. A brighter spirit is induced as the pallbearers stop off at an inn. Then the procession continues. The funereal atmosphere of the closing measures speaks of the ephemeral nature of all life, even the life of a marionette. The opera _Mireille_—libretto by Barbier and Carré based on Mistral’s poem, _Mirèio_—is not often performed. But this is not true of its overture. The opera was first performed in Paris on March 19, 1864. The story revolves around the tragic love affair of the Provençal girl, Mireille, and the basket-weaver, Vincent. The overture opens with a slow