A Chronological Listing of Musical Works

on American indian Subjects,

Composed Since 1608

© Michael V. Pisani, Vassar College, 2006

[This page designed in Microsoft Word and functions best in Internet Explorer]

This document is meant to accompany the book Imagining Native America in Music (New Haven: Yale University Press, 2005). This list, begun in 1993, should be understood as a work in progress. It includes principally those works that have taken Indian subjects from the areas that are now the United States and Canada and, to some degree, musical portraits of Middle- and South-American native peoples such as the Aztecs or Incas. Works have been entered by year of composition or by year of first performance. Therefore, some composers’ names are likely to occur several times. To find all entries by any single composer, you may wish to refer to the index at the end of this list. Composers’ dates, when known, are given at the first citation only. A bullet (•) within an entry serves one of two functions: 1) it indicates more than one work by that composer in the same year, or 2) it identifies undated (and unperformed) works. In the latter case, such works are included with the composer’s first entries. A year in brackets ([ ]) indicates an estimated date of composition.

While I may not be able to attend to a regular updating, I am interested in glaring omissions or any relevant new works. So please feel free to send them to me at mipisani@vassar.edu, and I’ll see what I can do about including them.

What This List Does Not Contain

This list does not include the many musical settings of Percy Bysshe Shelley’s poem Indian Serenade, which is an East Indian subject. Also, it does not contain “Apache” dances or songs associated with the French artistic Société des Apaches in the early 20^th century, for example, Cécile Chaminade’s Apache Dance or Richard Rodgers’s “The Poor Apache” (from the 1932 film musical Love Me Tonight). A study of that genre demonstrates that the “Apaches” in this case have lost any meaningful connection to the North American tribe. Furthermore, this list does not include folk tunes of unknown and untraceable origin, such as “Lost Indian.” Finally, it does not contain musical references to native America in film, which could easily constitute yet another list this size and would still be woefully incomplete.

Abbreviations to library sigla used in the list:

AAS = American Antiquarian Society, Worcester, Massachusetts

BL = British Library, London

BN = Bibliothèque Nationale, Paris

DEVINCENT = Sam DeVincent Collection at Indiana University (online). Web address: http://www.indiana.edu/~liblilly/devincent.shtml

DUKE = American Memory Project (online). Duke University. Web address: http://memory.loc.gov/ammem/award97/ncdhtml/hasmhome.html

HTC = Harvard Theatre Collection, Houghton Library, Harvard University (Sheet music depository)

KEFFER = Keffer Collection of Sheet Music, ca. 1790-1895, Dept. of Special Collection, University of Pennsylvania Library

LC = Library of Congress, Washington, D.C.

LEVY = Lester S. Levy Sheet Music Collection, Milton S. Eisenhower Library of The Johns Hopkins University. Web address: http://levysheetmusic.mse.jhu.edu/

MN = Music for the Nation series. Library of Congress. Wed address: http://rs6.loc.gov/ammem/mussmhtml/mussmhome.html

NBC Archive = National Broadcasting Corporation Library Archive, Eastman School of Music.

NYPL = New York Public Library, Research Collections, Lincoln Center

SIBLEY = Sibley Music Library, Eastman School of Music

UAZ = University of Arizona, Tempe, University Library

WFAA Collection = University of North Texas; Music Collection of WFAA Radio Station, Dallas (ca. 1920s to 1950s; received 1960)

Please note: While I have used the above sources in the preparation of this list—as well as many others not cited here—the list itself is not meant to be a complete reference to locations. Hence, the citation of sources is inconsistent. Some works can be found in many libraries. When the source is a manuscript, I have made every effort to indicate its location, if known. Other major library collections consulted were the Bancroft Library (Berkeley, CA), the Newberry Library (Chicago), and the Boston Public Library, as well as the Minnesota, Iowa, Oklahoma, Missouri, and Wyoming Historical Societies.

I wish to thank James Kimball of Geneseo, New York, whose private sheet music collection of “Indian Songs” inspired this list, and Paul Charosh for sharing of his great knowledge of American popular song. I would also like to thank Eli Spindel for his assistance in the editing process.

Indian List

An alphabetical list of composers can be found at the end of this list.

Anon.	1608	Anonymous, Ballet des Indiens. Performed at the Court of Henry IV. Music manuscript, BN
Anon.	1609	Anonymous, Entry No. 1 in Ballet de la Reine. Performed at the Court of Louis XIII. No source known.
Anon.	1614	Anonymous, Mascarade de Sauvages. Performed at the Court of Louis XIII. Music is believed lost.
Anon.	1620	Anonymous, Ballet de L’amour de ce temps représenté par les enfans sans soucy. No source known.
Coffin	1621	Anonymous, Ballet des Indiens. Excerpt of music by Coffin (“Favoris des dieux et du jour”) in Airs de différents autheurs. Paris: P. Ballard, 1621.
Anon.	1626	Anonymous, No. 1 in Grand Bal de la Douairière de Billebahaut. Louvre. February, 1626
Anon.	1641	Anonymous, Entry No. 26 in Ballet De M. Le Cardinal de Richelieu. Danced by “Americans”
Lully	1657	Jean-Baptiste Lully (1632-1687), Les Indiens, No. 8 in Les plaisirs troublés masqurade Dance deuant Le Roy Par Monsieur Le duc de Guize lan 1657, an evening of ballet given for Louix XIV at the Louvre, Paris. Score is unpublished but is at the Paris Bibliothèque nationale (Coll. Philidor, Vm micr 534 [36], p. 39)
Lully	1658	Jean-Baptiste Lully (1632-1687), Music for Prince Zelmatide and the “Peruvians” in the ballet Alcidiane.
Anon.	1658	Anonymous, incidental music to W. Davenant’s play Cruelty of the Spaniards in Peru. Music for pictorial-ballet with six entrées. Music is lost.
Anon.	1659	Anonymous, incidental music to W. Davenant’s operatic History of Sir Francis Drake. Only a “Simerons Dance” by Matthew Locke survives.
Cesti	1667	Marc Antonio Cesti (1623-69), Il pomo d’oro. Arioso in the prologue for “an American,” a black tenor in feathers. First Performed: Vienna, 1667.
Lully	1669	Jean-Baptiste Lully, Flore. Ballet de cours presented at the Louvre for King Louis XIV, 1669. No. 15 represents “The Fourth Quarter Of The World, America.”
Playford	1670	“The Indians’ Dance.” Violin solo. In Playford’s Apollo’s Banquet: Selected Tunes and Jiggs for the Treble Violin, p. 96. London.
Humphrey	1675	Pelham Humphrey, “Ah, Fading Joy” from his music to John Dryden’s The Indian Emperour; or, The Conquest of Mexico by the Spaniards. Being the Sequel of the Indian Queen (1667). Music unpublished.
Lully	1685	Lully, Le temple de la paix. Ballet de cours. Paris: C. Ballard, 1685. Many reprints.
Pasquini	1690	Bernardo Pasquini (1637-1710), music to Pietro Ottobone’s libretto, Il Colombo ovvero l’India scoperta. Performed Rome, Teatro di Tordinona, 1690. Score in the BL. The ballet des nations, now lost, was in the last act.
Purcell	1695	Henry Purcell (1659-95), “The Songs in The Indian Queen: as it is now Compos'd into an Opera, etc.” Adapted from the play by Sir R. Howard and J. Dryden.
Gay	1729	John Gay (1685-1732), Polly. This was a ballad opera set in the West Indies and, featuring the character of Macheath, was intended to be a sequel to The Beggar’s Opera. The opera features Cawwawkee, the son of the Indian-king and a “noble savage,” who, unlike the crooked Macheath and the other English, is actually an honest person (and who speak and sings in flawless English). The Lord Chamberlain banned production of the play, and it wasn’t produced until 1777, by which time it was long out of fashion. But the libretto was published immediately in 1729 and enjoyed some notoriety, especially among the aristocracy.
Vivaldi	1733	Antonio Vivaldi (1675-1741), Montezuma. Dramma per musicia. Performed Teatro di Sant’Angelo, Venice. Score was believed lost until 2004.
Rameau	1735	Jean-Philippe Rameau (1683-1764), Les Indes galantes, opéra-ballet in a prologue and four entrées with libretto by Louis Fuzelier First performed: Paris, 23 August 1735. CONTENTS: 1. “Les Incas du Pérou,” 2. “Le turc généreux,” 3. Le fleurs,” 4. “Les sauvages.” [Note: “Les sauvages” was added the following year, 1736]
Rousseau	1741	Jean-Jacques Rousseau (1712-78), La Découverte du Nouveau Monde. “Tragédie Lyrique” in 3 acts. Text also by Rousseau. Text published Lyons, 1741. Acc. to Arthur Pougin (Jean-Jacque Rousseau, p. 140), Rousseau only ever completed music for the first act.
Blaise	1751	Adolphe Blaise (after Rameau), Les Amours champestres, pastorale, parodie de l'acte des sauvages, quatrième entrée des Indes galantes [libretto by L. Fuzelier, music by J. P. Rameau], avec les airs notès. – a burlesque on Les sauvage.
Graun	1755	Carl Heinrich Graun (1704-57), Montezuma, a tragedia per music in three acts First performed: Berlin, 1755
Howard	1762	Henry Howard (d. 1766), A New Humorous Song on the Cherokee Chiefs. Broadside. Published London, [1762].
Boyce	1765	Samuel Boyce (d. 1775), A New Song on the Arrival of the Cherokee King & His Chiefs. For voice and continuo (figured bass). Words by the composer. Published London, 1765. First line: “From regions wild and drear we come, Britannia’s isle to see.”
Majo	1765	Gian Francesco de Majo (1732-70), Motezuma. Opera in three acts. First of many settings of a libretto by V. A. Cigna-Santi. (See also 1771, 1772, 1780, and 1781.) Performed Torino, Teatro Regio. (Also produced as La Conquista del Messico)
Grétry	1768	Andre E. M. Grétry (1741-1799), Le Huron. Comédie en deux actes at en vers by J. F. Marmontel. In two acts based on “L’ingénu,” a story by Voltaire. Performed Paris, 1768. Published at the 14^th Liraison in Oeuvres de Grétry Published Leipzig and Bruxelles: Breitkopf and Härtel, n.d.
Grétry	1770	André-Ernest-Modeste Grétry, L’Amitie à l’Épreuve. Opera in two acts. Libretto by C. Favart and C. Fusée. Performed Fontainebleau, 1770 and at Paris, Comédie Italien, 1771. Enlarged to three acts for Fontainebleau, 1786.
Mysliveczek	1771	Josef Mysliveczek (1737-81), Motezuma. Opera in three acts. A resetting of Cigna-Santi’s libretto for Majo. Performed Florence, Teatro della Pergola.
Galuppi	1772	Baldassare Galuppi (1706-85), Motezuma. Opera in three acts. A resetting of Cigna-Santi’s libretto for Majo. Performed Venice, Teatro San Benedetto.
Paisiello	1772	Giovanni Paisiello (1740-1816), Motezuma. Performed Teatro delle Dame, Rome.
Piccini	1772	Nicola Piccini (1728-1800), L’Americano ingentilito. Intermezzo in 2 acts. Performed Rome, 1772. [Acc. to Loewenberg’s Annals of Opera, contains Indian characters]
Bach	1776	Johann Christoph Friedrich Bach (1732-95), Die Amerikanerin. Monologue with text by H. W. von Gerstenberg. First perf. Riga, 1776. For soprano with orchestra. Score edited G. A. Walter (Berlin, 1919). [Unclear if subject is indigenous American. Likely not.]
Anon.	1777	Anonymous, Polly. Production at the Haymarket, London of John Gay’s 1729 ballad opera set in the West Indies. [Act III included a “Dance of Indians.”]
Insanguine	1780	Giacomo Insanguine (1740-95), Motezuma. Opera in three acts. A resetting of Cigna-Santi’s libretto for Majo. Performed Torino, Teatro Regio.
Anon.	1780	Anonymous, The Death Song of the Cherokee Indians “An original Air, brought from America by a Gentleman. . . conversant with the Indian Tribes.” The Words adapted to the Air by a Lady [i.e. Anne Hunter Home]. [Copy in Morrocco and Gleason’s Music in America.] First line: “The Sun sets in night”. Also called “The Indian Chief” and “The Indian Warrior” in various printed and manuscript sources.
Naumann	1780	Johann Gottlieb Naumann (1741-1801), Cora och Alonzo. Libretto in Swedish (1779) by by G. J. Adlerbeth after Jean François Marmontel, Les Incas. German libretto by Naumann in 1780. Published Leipzig: Dˇkischen Buch Handlung, 1780. First performed Stockholm, 1782.
Winter	1780	Peter von Winter (1754-1825), Kora und Alonzo. Melodrama in two acts. Libretto in German by J. M. von Babo after Marmontel. Performed Munich, 1780/1781, Regensburg, 1781, and Prag, 1788.
Linley	1781	Thomas Linley (1733-95), Robinson Crusoe. Harlequin pantomime. Performed London, Drury Lane. Published London: S. A. and P. Thompson, 1781. [Includes No. 9: “Savages Landing” and No. 10: “Dance of Savages.”]
Zingarelli	1781	Nicola Antonio Zingarelli (1752-1837), Motezuma. Opera in three acts. A resetting of Cigna-Santi’s libretto for Majo. Performed Naples, Teatro San Carlo.
Arne	1782	Michael Arne (1740-1786), The Overture, Songs, Duetts, Catch, Choruses & Comic-Tunes, with the Marches, and Dances in the Procession of the New Pantomime called The Choice of Harlequin or the Indian Chief, “adapted for the Harpsichord, and a Violin Accompanyment added to the Overture and some of the Tunes.” London. Longman & Broderip. [1782]. Performed: Covent Garden.
Kürtzinger	1782	P. I. Kürzinger, music to Inkle und Jariko. Melodrama by Wilhelm Rothammer. Performed Regensburg, Prince’s Theater, 1782.
Giordani	1783	Giuseppe Giordani (1744-98), Pizzaro nelle Indie, ossia La Distruzione del Perù. Opera in two acts. Performed Livorno, Teatro Avvalorati.
Pelissier	1783	Victor Pelissier (ca. 1845-1820) Columbus, or The Discovery of America, with Harlequin’s Revels. Pantomime. Performed Baltimore, New Theatre, 1783.
Candeille	1785	Pierre Joseph Candeille (1744-1827), Pizarre, ou Le conquête du Pérou. Tragédie lyrique in a prologue and five acts based on Marmontel’s The Incas of Peru. Libretto by Duplessis. Performed Paris, Opéra. Ms. BN.
Dalayrac	1786	Nicolas Dalayrac (1753-1809), Azémia, ou les Sauvages. Comédie in three acts. Libretto by Auguste E.X.P. de la Chaveussière. "Représentée à Fontainebleau, devant leurs Majestés, le 17 octobre 1786.” Published Paris: Le Duc, 1786. When performed at the Comédie-Italiens in Paris in 1787, it was supplied with an ammended title: Azémia, ou Le nouveau Robinson. Published Paris: Huguet, 1787. Rpnts. 1789, 1804; Overture arr. for piano and violin, 1820 [Set on an unidentified island, but probably is West Indies.]
Hook	1786	James Hook (1756-1827), Overture and “New Music” for The Peruvian. Burletta in three acts. Libretto by “a lady.” For a play called The Peruvian, an adaptation of Favart and de Voisenon’s “L’Amitié a l’Épreuve, the libretto for Grétry’’s 1770 opéra-comique. Performed London, Covent Garden, 1787. [Score published as The Fair Peruvian, 1786.]
Arnold	1787	Samuel Arnold (1740-1802), Inkle and Yarico. Opera in 3 acts, performed London, Haymarket Theatre, 1787. Story is derived from Steele – The Spectator, no. 11 (1711) – which is itself retold from Ligon’s True Exact History of the Island of Barbados. [Acc. to Loewenberg’s Annals of Opera, contains Indian characters]
Bianchi	1787	Francesco Bianchi (1752-1810), Pizzarro [sic]. Opera in three acts. Librettist unknown. Performed Venice, Teatro San Samuele. Ms.
Dibdin	1788	Charles Dibdin (1745-1814), Arm'd with Jav'lin. The Celebrated Indian Battle. Written, composed & sung by Mr Dibdin at the Lyceum Theatre in The Whim of the Moment.
Cambini	1789	Giuseppe Cambini (1746-1825), Cora, ou La Prêtresse du soleil. Opera comique in three acts. Performed Paris, Théâtre Beaujolais, 1787.
Dibdin	1789	Charles Dibdin, “Dear Yanko Say.” The Indian Song, written and composed by Mr. Dibdin. In The Oddities, or Man and No Wife, a “table entertainment” performed by Dibdin at the Lyceum Theatre, London.
Dutillieu	1789	Pierre Dutillieu (1754-97), Pizzarro, o La conquista del Perù. Ballet with scenario by Sebastien Gallet. Based on Marmontel’s The Incas of Peru. Performed Naples.
Teyber	1789	Franz Teyber, music for Fernando und Jariko, oder Die Indianer [Die Wilden und Gesitteten]. Singspiel after Chamfort with libretto by K. Eckartshausen. Performed Vienna, Freihau Theater, 1789.
Zumsteeg	1789	Johann Rudolf Zumsteeg (1760-1802), Grablied, text after Kotzebue, Die Sonnenjungfrau, act 4, scene 1.
Arnold	1790	Samuel Arnold. New Spain, or Love in Mexico. Burletta in three acts. Libretto by J. Scawen. Performed London, Haymarket. [Includes two principal American Indian characters, the chief Zempoalla and the noble Cherokee Alknomook. No. 17 in the opera is Alknomook’s famous “Death Song of the Cherokee Indians.”]
Dibdin	1790	Charles Didbin, The Indian Death Song. As sung in The Wags, a “table entertainment” performed by Dibdin at the Lyceum Theatre, London. London: Printed & sold by the author, at his music warehouse 411 Strand, opposite the Adelphi, 1790.
Seyfried	1790	Ignaz von Seyfried (1776-1841), Kora, Die Sonnenjungfrau. Musical play in five acts. Text by A. Kotzebue. Music by Seyfried and M. Stegmayer. Performed Vienna, Fasanth Theater, 1790, and at the Burgtheater, 1791.
Bernardini	1791	Marcello Bernardini (aka “Marcello di Capua,” 1740-ca. 1799), Pizarro nelle Indie. Opera in two acts. Performed Naples, Teatro San Carlo.
Cimarosa	1791	Domenico Cimarosa (1749-1801), La vergine del sole. Opera based on Marmontel’s The Incas of Peru. St. Petersburg, 1791.
Gram	1791	Hans Gram (1754-1804), The Death Song of an Indian Chief. For voice and keyboard accompaniment. The title page reads: “Taken from Ouabi, an Indian Tale, in Four Cantos by Philenia, a Lady of Boston” [= Sarah Wentworth Morton]. First appeared in the March, 1791 issue of the Massachusetts Magazine. Later published Boston: Thomas and Andrews, 1793. [In Morrocco and Gleason’s Music in America.]
Méhul	1791	Étienne Nicolas Méhul (1763-1817). Cora. Opera in four acts based on Marmontel’s The Incas of Peru. Libretto by Valladier. Performed Paris Opera, 1791.
Anon.	1792	Anonymous, Music to Columbus, or The Discovery of America. Melodrama by Thomas Morton. Performed London, Covent Garden, December, 1792.
Hewitt	1794	James Hewitt (1770-1827), Tammany (America Discovered); or The Indian Chief. Ballad opera in 3 acts, also called a “serious opera.” Libretto by Anne Julia Hatton. First performed in New York by the Old American Company on 3 March 1794 and ran through April. Both score and libretto are lost, although the text of the songs were published (New York: Harrison, 1794). [The cast included Columbus and other Spanish characters as well as Indian characters, including an Indian chorus. The play featured the song Alknomook: The Death Song of the Cherokee Indians, thought to be by an anonymous composer. (See 1780, Anon.). The playbill (reprinted in Vernon Grenville, Yandee Doodle-Doo) notes the inclusion of a “Indian Dance” performed by Misters [John] Durang and Miller, both actors.]
Anon.	1794	Anonymous, “Yarrimore. An Indian Ballad.” Published Philadelphia: Carr & Cos. Musical Repository, n.d. Song for voice and piano. Also for “guitar.” First Line of Chorus: You shall see never again your "Yarrimore" [text varies with each verse]
Pelissier	1794	Victor Pelissier, music to Inkle and Yarico. Performed Boston, 1794.
Storace	1794	Stephen Storace (1762-1796), The Cherokee. Opera in 3 acts. Words by James Cobb. Text reproduced in F. Longe Collection of plays, v. 233. The music “principally by Stephen Storace.” Performed London, Theatre Royal, Drury Lane, 20 Dec 1794. Vocal score published, 83 pp, London: J. Dale, 1795. Reproduction: Photocopy. San Rafael, Calif.: American Music Research Center, [1970s]. Score reprinted in 1977 by Belwin Mills, Kalmus vocal series; 9069
Dittersdorf	1795	Carl Ditters von Dittersdorf (1739-1799), “The Fields their Wonted Hues Resume.” Air sung by Mrs. Bland in the opera of The Cherokee, the words by Peter Pindar. London: Printed for G. Goulding, 1795.
Giordani	1795	Tommaso Giordani (ca. 1733-1806), “The Dart Of Izdabel Prevails: The Celebrated Death Song of the Cherokee Indian.” Text by Dr. Warton. First line: “The dart of Izdabel prevails” Performed London, 1856)
Gerl	1796	Thaddäus Gerl (1766-1844), music to Die Spanier in Peru. Singspiel in German by the composer after Kotzebue. Performed Brno, 1795. A “Trauergesang” was published separately. Performed in (The Spanish in Peru, or) Rolla’s Death. Brünn, Austria. 28 Feb. 1796.
Anon.	1796	Anonymous, “The Indian Princess.” In Thompson's Twenty-four Country Dances for the Year 1796, p. 89. Published: London. Also found in the American Ladies Pocketbook, 1797, p. 145-46.
Weigl	1796	Joseph Weigl (1766-1846), Alonso and Cora. Ballet-pantomime after Marmontel. Scenario by L. Traffieri. Performed Vienna, Kärntnertor Theater, 1796.
Winter	1796	Peter Winter, Das unterbrochene Opferfest: Eine heroisch-komische Opera in two acts. Libretto by Franz Xaver Huber. Performed Vienna, Kärtnertor Theater, 1796. After Marmontel’s Les Incas (1777). Takes place in Cuzco, shortly after 1532.
Hewitt	1797	James Hewitt, “The Wampum Belt.” Song for voice and keyboard. New York: Printed from James Hewitt and Frederich Rausch, [1797]. Reprinted in John W Wagner, ed. James Hewitt: Selected Compositions in Recent Researches in American Music, vol. XII (1980), p. 43.
Jadin	1797	Louis Emmanuel Jadin (1768-1853), Candos, ou Les Sauvages du Canada. Opéra-comique in three acts. Libretto by E. Delrieu. Performed Paris, Théâtre Feydeau, 1797.
Mazzinghi	1797	Joseph Mazzinghi (1765-1844), Pizarro. Ballett with scenario by Sebastien Gallet (see also Dutillieu, 1789 and Rolla, 1807). Performed London.
Anon.	1797	Anonymous, music to Indian War Feast: The American Heroine (pantomime). Libretto by Burk. First performed Boston, 10 May 1797.
Reinagle	1797	Alexander Reinagle (1756-1809), “Indian March” from Columbus, or The Discovery of America. Play in five acts by Thomas Morton. First performed London, Covent Garden, 1792. No music for the London production is known to survive. Music for three different American productions is cited by Reinagle (Philadelphia), James Hewitt (New York), and Peter A. van Hagen (Boston). Published as a broadside by Philadelphia: C. Hupfeld, 1799.
Kauer	1798	Ferdinand Kauer (1751-1831), Inkle and Yariko. Opera in 1 act, based on S. Arnold’s 1787 British opera (see 1787 – Arnold above). Performed New York, 1798.
Portugal	1798	Marcos António Portugal (1762-1830), Fernando nel Messico. Opera in three acts. Libretto by F. Tarducci. Performed Venice, Teatro San Benedetto.
Berton	1799	Henri Montan Berton (1767-1844), Cora et Alonzo. Opera in three acts.
Kelly	1799	Michael Kelly (1762-1826), “The Music of Pizarro” as performed at the Theatre Royal Drury Lane, 1799. Published Dublin: Hime, 1799. This includes a number of pieces by composers other than Kelly (including Gluck). “Grand March in the Temple of the Sun” is by Kelly.
Anon.	1799	“Indian Dance.” For clarinet. Manuscript of John Williams, pp. 39-40.
Sanderson	1799	James Sanderson (1769-1841), Cora. Burletta. Text by Richard Cross. Performed London, Surrey Theatre, 1799. Overture and one song were published.
Weigl	1799	Joseph Weigl, Rollas Death, or The Spaniards in Peru. Ballet-pantomime after Marmontel. Scenario by L. Traffieri. Performed Vienna, Kärntnertor Theater, 1799.
Kelly	1800	Michael Kelly, The Indian. London, 1800.
Pelissier	1800	Victor Pelissier, The Virgin of the Sun. Also titled Alzuma, or The Death of Pizarro. Drama with music after Kotzebue. Text by Arthur Murphy. Performed New York, 1800.
Sanderson	1800	James Sanderson, “Talacoy. An Indian Ballad” as sung by Mrs. Herbert in The Algerine Corsair…at the Royal Circus. Written by Mr. Cross for The Algerine [sic] Corsair. London: E. Riley, ca. 1800.
Lasser	1801	Johann Baptist Lasser (1751-1805), Cora und Alonzo. Opera after Marmontel. Performed Munich, Hoftheater, 1801.
Zumsteeg	1801	Johann Rudolf Zumsteeg (1760-1802), “Nadowessische Todtenklage” (“Sioux Death Song”). Lied for voice and keyboard. From Schiller’s poem of the same name, inspired by the text of a “Death Song” in John Long’s Voyages and Travels… (1791). Music in Zumsteeg, Lieder und Balladen, vol. 3.
Darondeau	1802	Henri Darondeau (1779-1865) and Gerardin-Lacour, music to Pixérécourt’s “melodrame historique” of Kotzebue’s Pizarro entitled Pizarre, ou, La conquête du Pérou. Produced at the Théâtre de la Porte St.-Martin, Paris.
Moorehead	1802	John Moorehead (1760-1804), “The Favorite Indian Ballad in La Perouse.” The poetry by George Colman. Music composed and arranged for the harp or pianoforte. First Line: “My name be Umba.”
Thollé	1802	Thomas Thollé (1757-1823), Atala. Opera in two acts. Performed Paris, Théâtre Jeunes Artistes, 1802.
Thorley	1802	Thomas Thorley, “Poor Eliza, or the Indian Captive.” Song. Arranged for the piano forte with an accompaniment for a violin, harp or flute. The words & music by Mr. Thorley.
Mayr	1803	Johann Simon Mayr (1763-1845), Alonso e Cora. Opera buffa in two acts. Libretto by G. Bernardoni. Performed Milan, Theatro alla Scala. Also produced as Cora in Naples, Teatre San Carlo, 1815 and as Isalide, ossia La Vergine del sole, location unknown.
Seyfried	1804	Ignaz von Seyfried, Montezuma oder Tippo Saib. Melodrama in 3 acts by Joseph von Seyfried. Performed Vienna, Theater an der Wien, 1804. Music is lost.
Blewitt	1805	Jonas Blewitt, “Alonso and Cora.” Song. Text by W. Hare. Based on an episode from Marmontel. London: Clementi and Co., 1805 ca.
Rolla	1807	Allessandro Rolla (1757-1841), Pizarro, o la conquista del Perú. Pizarro. Ballett with scenario by Sebastien Gallet (see also Dutillieu, 1789 and Mazzinghi, 1797). Performed Milan, La Scala.
Bray	1808	John Bray (1782-1822), The Indian Princess or La Belle sauvage. An operatic melo-drame in 3 acts. Text by James Nelson Barker. Performed Philadelpha, 1808. Facsimile of the libretto and vocal score published in 1972 with a new introduction by H. Wiley Hitchcock. [Based on the Pocahontas story.]
Spontini	1809	Gaspare Spontini (1774-1851), Fernando Cortez, ou La Conquête du Mexique. “Tragédie lyrique” in 3 acts. Text by E. Jouy and J. Emenard. First performance at the Théâtre de l'Académie Impériale de Musique in November, 1809. Published Paris: Erard, 1809 and in the same year in Vienna. Reprint New York: Garland, 1980.
Wöber	1809	Wöber, music to Columbus. Play in four acts by Klingemann. Produced Berlin, Königliche Theater, 1809. Music is lost.
Venua	1810	Frédéric Marc Antoine Venua, Constance and Almanzor. A favorite grand Indian ballet. Arranged for the piano forte. Op: 8. London: Printed by Goulding, Phipps, D’Almaine, & Co., 1810.
King	1811	Matthew Peter King (1773-1823), The Americans. London, 1811.
Bishop	1812	Henry Rowley Bishop (1786-1855), The Virgin of the Sun. Burletta in three acts. Text by F. Reynolds after Kotzebue’s The Spaniards in Peru. Performed London, Covent Garden, 1812. [Ms. at BL]
Darondeau	1815	Henry Darondeau, Music to Guilbert de Pixérécourt, Christophe Colomb, ou la Découverte du nouveau monde. “Mélodrame historique” in 3 acts. Performed Paris, Théâtre de la Gaité, 1815. Text published in Théâtre Choisi, vol. 3, Paris, 1842. [Ms. at Paris Opéra Library]
Horsley	1815	William Horsley (1774-1858), “When Shall We Three Meet Again.” A ballad for solo voice and piano, with an accompaniment for the piano forte or harp, the poetry written by an American Indian, etc. Also published in an arrangement for SSB chorus and piano, London: Clementi and Co., 1830.
Schubert	1815	Franz Schubert (1797-1828). “Cora an die Sonne,” D.236. Lied with text by Gabriele von Baumberg.
Yaniewicz	1815	Felix Yaniewicz (1762-1848), Indian War Hoop, a rondo for the pianoforte. London, Liverpool. [ca. 1815]
Rimbault	1816	Stephen Francis Rimbault (1773--1837), A Sonata for the Piano Forte in which is introduced the Cherokee Indian Death Song, with an accompaniment for the flute. Op. 12. London, 1816.
Lefolle	1817	“War Dance” in the play The Armourer’s Escape, or Three Years at Nootka Sound (a melodrama by James Nelson Barker performed at Philadelphia’s Chestnut Street Theatre). Music for the play was compiled and arranged by a violinist and music director by the name of “Mr. Lefolle.” Music is lost.
Wrede	1817	J. P. Wrede, The Celebrated “Indian Rondo” for the Piano Forte or Harp, with an accompaniment for flute or violin. Bath (England), 1817.
Pacini	1818	Giovanni Pacini (1796-1867), Atala. Opera in three acts. Libretto by Antonio Peracchi. Performed Padua, Teatro Nuovo, 1818.
Anon.	1820	Anonymous, The Indian Chief's March (“General Gate's March”). New York: Firth and Hall, 1820. A one-page broadside.
Harris	1821	Joseph Macdonald Harris, The Indian Hunters. Song for voice and piano. The poetry by J. Finlaison. London, 1821. First Line: "O maiden leave…"
Bishop	1823	Henry Rowley Bishop, “Yes! tis the Indian Drum!” The admired Round for four voices from Cortez, or The Conquest of Mexico. Burletta in three acts. Text by J. R. Planché. Performed London, Covent Garden. Score published London: Goulding, D'Almaine & Co., 30 Soho Square, n.d.
Cramer	1824	John Baptist Cramer (1771-1858), Fantasia for pianoforte in which is introduced the round Yes 'tis the Indian Drum' from the opera Cortez by Sir H. R. Bishop.
Hummel	1825	Johann Nepomuk Hummel, (1778-1837), Indian Rondo for the Piano Forte Paul et Virginie. Ballet music. Op. 41. London: Royal Harmonic Institution, [1825?]. Rpnt. London: Leader & Cock, Addison & Hollier, [1852.]
Maddison	1825	George W. Maddison, The American Lake Song, with variations for the pianoforte. London, 1825. Republished in 1827 as “The American Lake Song, known by the name of the Canadian Boat Song, a celebrated Indian air, arranged with variations, for the piano forte and an accompaniment for the flute (ad lib). “ London: G. Walker, [WM 1827], 12 pp.
Puzzi	1825	Giovanni Puzzi, “When Your Beauty Appears.” Indian air, words by Thomas Parnell, arranged as a duet, for soprano and tenor. London: Printed by J. Willis & Co. for the Author, 1825.
Bayly	1830	Thomas Haynes Bayly, “When First We Met.” Ballad. London: Goulding & D’Almaine, 1830.
Gladstanes	1830	J. C. Gladstanes, The Indian. A glee for three voices. First line: "They made her a grave.” London, 1830.
Hummel	1830	Johann Nepomuk Hummel, Grand Characteristic Fantasia Founded Upon an Indian Air. For the piano forte with orchestral accompaniments, etc. [Parts for P. F. and strings.] London. J. B. Cramer, Addison & Beale. [1830]. Five parts: piano and strings. [Rpnt. ed., 1835.
Rodwell	1830	George Herbert Rodwell, “Love a Captive,” sung. . .in Mr Peakes' melodramatic Entertainment, called The Wigwam, or the Men of the Wilderness.” Poetry by C. J. Davids. Published London: Goulding & D'Almaine, [1830?]
Machold	1830s	G. Machold, “The Indian Girl. Ballad.” Words by Lois B. Adams. Published New York: James L. Hewitt, n.d. First line: “She sits beside the lonely rill, With flowers her raven locks to twine.”
Heinrich	1831	Anthony Philip Heinrich (1781-1861). Pushmataha: A Venerable Chief of a Western Tribe of Indians (“fantasia instrumental for orchestra”; London, 1831; revised New York, 1855; unpubl.).
Heinrich	1834	Anthony Philip Heinrich, Logan, the Mingo Chief. Grand Fantasia (one-movement orchestral work of symphonic poem proportions; London, 1834; revised New York, 1851; unpubl.).
Hörger	1834	G. Hörger (b. 1804), Atala. Opera in two acts. Libretto by C. G. Müller. Performed Würzburg, Stadttheater, 1834.
Horn	1835	Charles E. Horn (1786-1849), “The American Indian Girl.” Ballad. Words by J. M. Smith Jr. Published New York: Dubois and Bacon, 1835. Preface to song: “An American Indian Girl residing in one of the early settlements, upon being asked in the course of her education whether she did not think her present situation and prospects more happy than in wandering in ignorance among the woods, replied in the following strain of feeling and pathos: ‘O give me back my forest shade,’ etc.”
Panseron	1835	Auguste Panseron (1795-1859), Chant national des Osage. Dedicated to “the Grand Kaniké. “ Text in Osage. For piano solo.
Dielman	1836	Dielman, Henry. “Grand March to the National Drama Pocahontas” Performed Philadephia, J. G. Osbourne’s Music Saloon, 1836.
Adam	1837	Adolphe Adam (1803-56). Les Mohicans. Ballet in 2 acts; Paris, 1837. Never published. Considered to have been a flop. [Ms. at BN]
Heinrich	1837	Heinrich, Anthony Philip. Pocahontas--The Royal Maid and Heroine of Virginia, the Pride of the Wilderness: Fantasia Romanza (large orchestra; unpubl.); a set of free variations.
Russell	1837	Henry Russell (1812-1900), “The Indian Hunter.” Song. Poetry by the young English poet Eliza Cook. [Also editions of 1842, 1856, and 1866.] First line: "Oh! why does the white man…" Arranged in 1865 for piano solo by J. B. Duvernoy.
Anon.	1839	Anonymous, “Indian War Whoop” in George P. Knauff’s Virginia Reels. Baltimore: F. D. Benteen, 1839.
Cowell	1840	Augusta Cowell, The Indian Exile. Song. First line: "An exile in the Indian land.”
Loder	1840	Edward James Loder (1813-65), Oh! say will you dwell in my Cedar Shade, or Song of the Indian Girl. Voice and piano. The poetry by Miss Byron.
Moore	1840	Thomas Moore (1779-1852), The Young Indian Maid. Song for voice and piano. Words and music by Thomas Moore. Published Philadelphia: A. Fiot, 1840.
Anon.	1840	Anonymous, “The Metamora Grand March.” Dedicated to Edwin Forrest. “Composed for the piano by a professor.” Performed New York: Firth and Hall, 1840
Russell	1840	Henry Russell, Oh! Say Will You Dwell In My Cedar Shade, or Song of the Indian Girl. The poetry by Miss Byron Loder. London: T. Prowse, 1840.
Heinrich	1840	Anthony Philip Heinrich, Indian Fanfares. Suite for piano. Published Remshalden [W. Germany]: Clavis, 1987. Forward by Widmar Hader. CONTENTS: 1. The Comanche revel = Das Kamanschenfest – 2. The Sioux gaillarde = Die Sioux-Gaillarde – 3. The Manitou air dance = Manitous Tanz durch die Lüfte.
Baker	1841	John C. Baker, The Indian Girl (Song). Sund by the Bakers of New Hampshire. Published Boston: C. H. Keith, 1841.
Russell	1841	Henry Russell, The Chieftain's Daughter. A Ballad. The Poetry by George P. Morris. New York: Firth & Hall, No. 1 Franklin Square, 1841. First Line: “Upon the barren sand, a single captive stood.” The subject is Pocahontas. Dedicated to General Winfield Scott by George Morris.
Russell	1841	Henry Russell, The Soldier and His Bride. Song with text by George P. Morris. New York: Firth & Hall, 1841. The subject is the captivity and murder of Jane McCrea in 1777.
Anon.	1843	Anonymous, Roll swiftly to the spirit's land (“The Indian woman's death song”), a ballad; “the words by Mrs. Hemans” [see 1854, Felicia Dorothea Hemans, below], “the music composed by a young friend.” Published London, 1843.
Knight	1843	Knight, A. F. “Song of the Red Man,” No. 2 of 7 “composed and dedicated to his friend Anselm Lothrop, Esq. by A.F. Knight.” Published Boston: Henry Prentiss, 1843. [Same as “Nolcini” below.]
Nolcini	1843	Nolcini (arranged), The Indians. For piano. Published Boston: Henry Prentiss, 1843. The titles of each of the seven pieces (published separately) are listed on the cover: CONTENTS: 1. King Philip’s Quick Step -- 2. Song of the Red Man -- 3. On Ka Hye Waltz -- 4. Osceola Quick Step -- 5. Kewkuck Quick Step -- 6. Black Hawk Quick Step – 7. Nohmookee Waltz.
Brown	1844	Francis H. Brown (1818-1891), The Indian and His Bride. Song for medium voice and piano. Words by George P. Morris. Dedicated to Hardy de Wees, M.D. New York: Firth, Hall, and Pond, 1844. First line of text: “In the days that are gone.” Title page illustration: man and woman sitting on bank by stream.
David	1844	Félicien David (1810-1876). “Danse de sauvages (Air de ballet),” “Chœur de sauvages,” and “Lullaby of an Indian Mother” (La mère indienne, Berceuse) from Part IV, “The New World” of Christophe Colomb, ou La Découverte du nouveau monde , ode-symphonie for soloists, chorus, and orchestra; Published Germany, ca. 1850).
Dodworth	1844	Allen Dodworth (after Henry Russell), Indian Hunter Quick Step. Arranged from Henry Russell's Popular Song of The Indian Hunter. Dedicated to Henry John Sharpe. New York: William Hall & Son, 239 Broadway, 1844.
Romani	1844	F. Romani, The Indian Bride's Farewell. Ballad. Poetry by Edward J. Porter. Baltimore: F.D. Benteen, 137 Baltimore St., 1844.
Saroni	1844	Herrman S. Saroni, The Pequot Brave. New York: W. H. Geib, 1844.
Sullivan	1844	Mrs. Marion Dix Sullivan, The Blue Juniata. Boston: Oliver Ditson, 1844. Voice and piano. Arranged by Edward Little White. First line of verse: “Wild rov'd an Indian girl, Bright Alfarata, where sweep the waters of the blue Juniata.”
Baker	1845	John C. Baker, The Burial of an Indian Girl. Song for medium voice and piano. Poetry by Lydia Howard Sigourney (1791-1865). Boston: Keith’s Publishing House, 1845. First line: “A wail upon the prairies.” Sung by Sophia M. Baker. In the series Songs & Glees of the Baker Family of New Hampshire.
Commuck	1845	Thomas Commuck, Indian Melodies by T. Commuck. Harmonized by T. Hastings. New York: G. Lane & C. B. Tippett, 1845.
Guylott	1845	Robert Guylott, The Lay of the Indian Girl. A Romance First Line: "They tell me". Words by G. R. B. London, 1845.
Heinrich	1845	Anthony Philip Heinrich, The Indian Carnival: or, the Indian’s Festival of Dreams (one-movement symphony; completed ca. 1845; unpubl.). Depicts an end-of-winter Bacchanale.
Heinrich	1845	Anthony Philip Heinrich, Manitou Mysteries or the Voice of the Great Spirit. Gran Sinfonia Misteriosa Indiana (four-movement symphony for orchestra; completed ca. 1845; Published in The Symphony in Croatia: Three Symphonies (Garland, 1984). Contains no program and no programmatic subtitles.
Heinrich	1845	Anthony Philip Heinrich, The Mastodon (symphony in three movements for large orchestra; entitled “musical portraitures”; unpubl.). CONTENTS: 1. Black Thunder, the Patriarch of the Fox Tribe – 2. The Elkhorn Pyramid or the Indian’s Offering to the Spirit of the Prairies – 3. Shenandoah, an Oneida Chief. [The first and the third movements are musical portraits of actual figures, the second is a depiction of Indian customs and religions. The subject matter for the second movement is derived from Prince Maximilian de Wied’s Travels in the Interior North America (1843), which Heinrich cites on the title page of the movement, and describes a Blackfoot ceremony performed before a hunt. Notes from W. Maust.]
Mellon	1845	Alfred Mellon (1820-67), melodramatic music to The Green Bushes, a play by John Buckstone, Performed Adelphi Theatre, London. Music unpublished. Act II is set in America and features Miami, an Indian huntress. [copy at BL in Drury Lane manuscript collection]
Owen	1845	D. Owen, The Grey's Polka, introducing the celebrated Indian melody, as performed by the band of the Scots. For piano solo. [Also 1847]
Philips	1845	Henry Philips, The Huron’s Prayer. New York, 1845.
Wesley	1845	Samuel Wesley (1766-1837), “Tobacco is an Indian Weed.” A 3 Part Song. In Twelve Short Pieces for the Organ. London, 1845.
Baker	1846	Benjamin Franklin Baker (1811-89), The Death of Osceola, glee for four voices (STTB). Words by S. S. Steele. Published Boston: Henry Tolman, 1846 (5 pp.) Osceola was a Seminole chief (1804-1838).
Dempster	1846	William R. Dempster. Song of the Indian Hunter. Words by Eliza Cook. Published Boston: Oliver Ditson, 115 Washington St., 1846. First Line: “Oh! why does the white man follow my path like the hound on the tigers track?” [This song uses the same words as Henry Russell’s famous song—of the same year—but is not the same tune.]
Heinrich	1846	Anthony Philip Heinrich, Indian War Council. Gran Concerto Bellico. A Grand Heroic Divertissement for 41 Instrumental Parts” (unpubl.). A musical portrait of Tecumseh. First performed Boston, 1846 with an accompanying descriptive program. This was originally two works combined into one: Tecumseh, or The Battle of the Thames (a Martial Overture) and The Indian War Council.
Hutchinson	1846	John Wallace Hutchinson (1821-1908), The Indian’s Lament. Words and melody by Hutchinson. Published Boston: Stephen W. Marsh, 1846. Performed by the Hutchinson Family. Illustration: American Indian standing on a rock / Lithograph of E.W. Bouvé. First line: “Alas, alas said the Indian, I once had a home.” Published later Boston: Oliver Ditson, 1853.
Masters	1846	William J. Chalmers Masters, Introduction and Variations for the Piano Forte on H. Russell's Melody “The Indian Hunter.” London, 1846.
Redler	1846	G. Redler, Les Sauvages, quadrille pour le Piano Forte, Solo and Duet. Performed London, 1846
Rodwell	1846	George Herbert Rodwell, “My love's like the deer.” [Song.] The poetry by C. J. Davids. Song from The Wigwam. In The Musical Bijou, mdcccxlvi. p. 48, Performed London, 1846.
Russell	1846	Henry Russell, The Indian’s Lament. Song with text by Eliza Cook. “Composed and dedicated to Henry John Sharpe, Esq. As a mark of esteem by his friend Henry Russell.” Published New York: James L. Hewitt, 1846. First Line: “Alas, alas, said the Indian; I once had a home…”
Woodbury	1846	Isaac Baker Woodbury (1819-1858), The Indian’s Prayer. Published Boston: E. Wade, No. 197 Washington St., 1846. First Line: “Let me go to my home in the far distant west, to the scenes of my childhood in innocence blest.” [Sung from the point of view of the “Indian.” Wants to be buried in “my home.”]
Anon.	1846 (ca.)	Anon., Indian Chief’s March. “Composed and arranged for the pianoforte.” Published Boston: Oliver Ditson, n.d. This is the same tune as the original Death Song of the Cherokee Indian.
Berg	1847	Albert W. Berg, La belle indienne. For piano (7 pp.). Dedicated to Susan Ridley Segwick. Published New York: Firth, Hall, and Pond, 1847. Cover lithograph: scene of a young Indian woman standing on the shore of a wooded lake.
Heinrich	1847	Anthony Philip Heinrich, The Treaty of William Penn with the Indians. A “concerto grosso” in six sections; composed in London; unpubl.; revised in New York, 1847. This work is in six programmatically titled parts. CONTENTS: 1. The Meeting of William Penn and his Associates with the Delaware Indians – 2. The Treaty – 3. Smoking of the Calumet – 4. The Presentation of the Gifts to the Indians – 5. The Grand Dance of the Calumet – 6. Coda Volante. The Manitou Air Dance.
Jacob	1847	Jacob of the Orphean Family, The Indian Girl’s Lament on the Banks of the Kennebec. Sung by the Orphean Family. Words by C. Chauncey Burr. Published New York: Holt, 1847.
Lee	1847	George Alexander Lee, “The Wild Free Wind,” Cora, the Indian Maiden's Song. Poetry by Shirley Brooks. From “the new burletta” called The Wigwam. Published London: Leoni Lee & Coxhead, 1847. Reprinted in 1851 in New York (see below).
Lover	1847	Samuel Lover, The Indian Summer. Written & composed by Samuel Lover Songs of America. No. 1. London: Duff & Hodgson, 1847.
Schröder	1847	Karl Schröder (1823-89), Pizzaro, oder Die Eroberung von Peru. Opera. Berlin.
Dempster	1848	William R. Dempster, The Dark Eye has Left Us. Song of Indian Women, from a Poem Entitled The Bridal of Pennacook. Poem by John G. Whittier. Published Boston: Oliver Ditson, 115 Washington St., 1848. First Line of Chorus: Mat wonck kunna monee! Mat wonck kunna monee! Mat wonck kunna monee! We hear it no more. Dedicatee: “Music Composed & Dedicated to His Friends and Lovers of Song on the Beautiful Banks of the Merrimac River.”
Howard	1848	Frank Howard and James T. Field, The Children in Exile. Song for voice and piano.
Howard	1848	Frank Howard and W. B. Farwell. The Indian’s Dream. Song dedicated to Dr. J. F. Flagg. Published Boston: S. W. Marsh, 1848. First line of verse: “I dream…” (…years that passed away, a winding forest stream, and a house in the far-off west, etc.).
Heinrich	1849	Anthony Philip Heinrich, “The Cherokee’s Lament,” No. 4 in Presentazioni Musicali: Four Fantasies for the Voice and Pianoforte, “The Moan of the Forest, or the Chrokee’s Lament (Toccata Indiana). Published privately, New York, 1849.
Lover	1849	Samuel Lover, Give Me Arrows, and Give Me My Bow.” An Indian superstition of the Manitou Isles.” Song for voice and piano. Written and composed by S. Lover.
Holmes	1850	William Henry Holmes, Fantasia for the Pianoforte on Indian airs. Published London: D'Almaine & Co, 1850. 7pp.
Hosmer	1850	E. A. Hosmer, The Indian Girl’s Song. Words by J. M. Fletcher. Published Boston: G. P. Reed, 1850.
Martin	1850	George Martin, The Grave of Uncas. See Martin, 1857. According to Finson, inspired by the appearance of Cooper’s Mohicans in a revised edition (1850).
Pike	1850	Marshall S. Pike, The Indian Warrior’s Grave. Song for voice and piano (also available for vocal quartet). Words by the composer. Arranged by J. P. Ordway. Five-p. score published Boston: A. and J.P. Ordway and New York: Waters and Berry, 1850. Dedicated: To the Hon. Moses H. Perley of St. John City, N.B. First line: “Green is the grave by the wild dashing river.” Cover: “Sung by the Harmoneons at their popular concerts.”
Sebastiani	1850	Giovanni Sebastiani (1818-99), Atala. Opera with libretto by the composer. Performed Rome, Teatro Argentina, 1850.
White	1850	Edward L. White (1809-1851), Sachem’s Daughter. Song for medium voice and piano. Poetry by J.E.A. Smith. Published Boston: G.P. Reed, 1850. Title page illustration: Indian girl on shore. First line: “Bright as the foam on Casco's water.”
Anon.	1850s	Anonymous, The Indian Hunter, A Western Ballad, “adapted to a favorite melody,” Published Baltimore: F.D. Benteen, successor to J. Cole, n.d. First Line: “Let me go to my home in the far distant west, to the scenes of my youth that I still like the best.” First Line of Chorus: “White man let me go!” [varies with each verse]
Anon.	1851	Anonymous [one “Mrs. L. L. D. J.”], “The Indian Student.” Lament for voice and piano. Dedicated to Mrs. Mary Gentry. Published New Orleans: Wm. T. Mayo, 1851.
Butera	1851	Andrea Butera (1818-62), Atala. Opera with libretto by Giuseppe Sapio [see also 1869]. Performed Palermo, Teatro Carolina, 1851.
Lee	1851	Alexander Lee, The Indian Maiden’s Song. Words by Shirley Brooks, Esq. Published New York: Firth, Pond & Co. (1 Franklin Sq.), 1851. First Line: “Oh! the wild free wind is a spirit kind, and it loves the Indian well.”
Hewitt	1852	John Hill Hewitt (“Professor of Music at the Young Ladies Collegiate Institute”), The Indian Polka. Published Baltimore: G. Willig, Jr., 1852. Inscribed to his Pupil Miss Ann C. Jarboe.
Miguel	1852	J. E. Miguel, Indian March. Orchestra piece, performed at a concert in Metropolitan Hall, New York. 7 June 1852.
Auber	1854	Daniel Auber (1782-1871), “Dans ces forêts sauvages, “Serenade from Marco Spada. London, 1854.
Anon.	1854	Anonymous. Thou'rt Passing from the Lake's Green Side. “Indian song” for voice and piano. Words by Felicia Dorothea Hemans.
Magruder	1854	James E. Magruder, The Indian Captive, or, The Absent Lover. Words by D. Loughery. Published Baltimore: J.E. Boswell, 1854. First Line: “White man take me back to my home in the West, where my innocent childhood was spent free from care.”
Root	1854	George Frederick Root (1820-95), The Pilgrim Fathers. Cantata. Words by Frances J. Crosby. [The latter half of the cantata deals with an Indian-Pilgrim battle of 1621].
Clark	1855	James G. Clark, “The Indian Mother’s Lullaby.” Lament for voice and piano. Cleveland: S. Brainard & Sons, 1855.
Woolcott	1855	Francis Woolcott, “Wenona of the Wave.” Song for voice and piano. Word by T. Ellwood Garrett . Published St. Louis, 1855. [Wenona was a Dacota Sioux chief who’s daughter threw herself over a precipice because she was forced to marry a man she did not love.]
Wood	1855	T. Wood, “They are Gone, They are Gone; or, The Red Man’s Requiem.” “Lament for voice and piano.” Song and quartet. New York: H. Waters, 1855.
Converse	1856	Charles Crozat Converse (1832-1918), Death of Minnehaha. Published Boston: Oliver Ditson & Co., 115 Washington St., n.d. Oliver Ditson published (or was to have published) at least three other Converse songs on Hiawatha texts (all in 1856): The Death of Minnehaha, My Algonquin (from canto 12), and Onaway, Awake!
Eaton	1856	E. K. Eaton, Hiawatha Schottische. Published Portland: J.S. Paine, 1856. Copy at the Longfellow National Historic Site, Cambridge, Massachusetts.
Gilbert	1856	Ernest Thomas Bennett Gilbert, Hiawatha, romance poètique pour piano. Op. 12. Published, London, 1856.
Hatton	1856	John Liptrot Hatton (1808-1886), Music to Charles Kean’s production of Pizarro, or The Spaniards in Peru. Performed Princess Theatre, London, 1856. Note in the program: “The Indian airs are founded on melodies published in Rivero and Tschudi’s work on Peruvian Antiquities as handed down to us by Spaniards after the conquest.” [Music is lost]
Hill	1856	L. A. Hill, The Hiawatha Polka. For piano solo. Published London, 1856.
Pelzer	1856	Anne W. Pelzer, Hiawatha's Farewell First Line: "Farewell, farewell my Minnehaha." Words by Longfellow. Published London, 1856.
Peticolas	1856	C. L. Peticolas, Hiawatha Polka. Published Baltimore, Maryland: Miller and Beacham, 1856.
Shrivall	1856	Frederick R. Shrivall, The Indian Girl's Lament First Line: "An Indian girl was sitting". London, 1856.
Shrivall	1856	Frederick R. Shrivall, The Indian Hunter's Serenade or "Thy bower awaits thee dearest". London, 1856.
Wallis	1856	Louis Wallis, Sioux March. Published St. Louis: Balmer & Weber, 1856. Lithograph by E. Robyn of mounted U.S. troops attacking a Sioux camp.
Blockley	1857	John J. Blockley, The Song of Hiawatha, (“I am happy, I am happy”) written by H. W. Longfellow.
Blockley	1857	John J. Blockley, “Tobacco.” First Line: "Tobacco is an Indian weed". London, 1857.
Cady	1857	Chauncy Marvin Cady, Minnehaha Glee Book, a collection of popular glees, part songs, duets, trios, quartets and choruses, etc.
Gregory	1857	W. Gregory, The Indian Polka. For piano solo. Uxbridge, 1857.
Lucas	1857	Charles Lucas, "Ah! Fading Joy." Madrigal for 5 voices. The words from Dryden's Indian Emperor. Reprinted, 1883.
Martin	1857	George H. Martin, The Grave of Uncas, a ballad for medium voice and piano. Published Boston: Oliver Ditson, 1857. [“The music composed and dedicated to the remnants of the Mohecan Tribe of Indians by George H. Martin.”]
Thomas	1857	Julia P. Thomas, Metamora Quickstep. Piano. Published Boston: Henry Tolman, 1857. ["To the officers & members of the Boston Light Infantry."]
Wood	1857	D. Wood, “On Away! On Away!” Words by H. W. Longfellow. Published Philadelphia: Beck & Lawton, S.E. Cor. 7th & Chesnut St., 1857. Successors to J.E. Gould.
Gagnon	1858	Ernest Gagnon (1834-1915), Stadaconé: Danse sauvage pour piano. Published Montreal: John Lovell, 1858. Reprinted in The Canadian Musical Heritage, vol. 1, ed. Elaine Keillor (1983). [“Stadaconé was the name of the Iroquois village on the site of present-day Quebec City.”]
Karst	1858	Karst, Emile (1826-1917) and Jacques Ernest Miquel. Hiawatha: a cantata. Libretto Published St. Louis: R. P. Studley, 1858. Words by Henry W. Longfellow; “vocal music by Emile Karst; orchestral music by J. E. Miguel.”
Lover	1858	Samuel Lover, The flower of night. Song for voice and piano. Written and composed by S. Lover. First Line: "There is an Indian tree they say".
Benkert	1859	George Felix Benkert (1831-?), Das Indianer Mädchen: Ein Bild aus Pennsylvaniens Vorzeit = The Indian Girl: A Scene in the Early History of Pennsylvania. For orchestra. Manuscript, 1859. 43pp. "Text von L.A. Wollenweber." The name of John Philip Sousa stamped on title page. Microfilm in the Sousa Collection, University of Illinois, Champaign-Urbana.
Flément	1859	Argénor Flément, Hiawatha, Valse Brillante, For piano solo. Op. 30. London, 1859.
Harvey	1859	Richard Frederick Harvey, Waltz, Minnehaha! (Laughing Water) for the piano forte. London: John Shepherd, 1859.
Heinrich	1859	Anthony Philip Heinrich, Der Felsen von Plymouth, oder Die Landung der Pilger Väter in Neu-England A.D. 1620. For orchestra. Composed in Prague; unpubl. This work is in seven programmatically titled parts. [The third, “Baletto indico nazionale: Freudentänze der Squaws nach erhaltenen Geschenken” is as close as Heinrich ever came, according to Maust, “to the employment of native Indian music.”]
Sherwin	1859	W. F. Sherwin, “Away, Away, With Hearts So Gay!” Hiawatha Boat Song. Quartette for Male Voices. Poetry by H. P. Ross. Published Albany: J.H. Hidley, 519 Broadway, 1859.
Sobolewski	1859	Edward Sobolewski (1808-72). Mohega, die Blume des Waldes (opera). Performed Milwaukee, 1859. Unpublished score is lost.
Stoepel	1859	Robert August Stoepel (1821-1887). Hiawatha, “Indian Symphony” (4 soloists, chorus, and orchestra. Published New York: William Hall and Son, 1863. First Performed 1859, if not before. Dedicated “to his friend L[ouis] M[oreau] Gottschalk.” Work in two parts and 14 sections. No 8, “(Chibiabo’s) Love Song,” tenor and piano, was published separately in the same year. First Libe: “Onaway! Awake, beloved!” The composer’s autograph presentation copy to architect J. Wrey Mould is at the NYPL.
Wallerstein	1859	Ferdinand Wallerstein, Awake, Beloved, an Indian song. First Line: "Onaway, awake beloved". From The Song of Hiawatha by Longfellow.
Lumbye	1860	Hans Christian Lumbye (1810-1874). “Indian War Dance” from the vaudeville-ballet Fjernt fra Danmark (1860). PPublished in Folkeudgave af H.C. Lumbye’s Kompositioner, Copenhagen: Wilhelm Hansen, 1880.
Richards	1860	Henry Brinley Richards (after Bishop), Hark! 'tis the Indian Drum. (Sir H. R. Bishop's trio,) arranged for the Pianoforte. Reprinted 1868.
Rubenstein	1860	Anton Rubenstein (1829-94), “Sauvage et indienne,” from Bal costumé: suite de morceaux caractéristiques pour piano à quatre mains, op. 103. Published Berlin: Bote & Bock, 1860
Capel	1861	Charles Capel, Minnehaha Valses. For piano solo. London, 1861.
Howard, W	1861	William Howard of Edinburgh, Indian Galop. For piano solo. Published Edinburgh, 1861. [Possibly east Indian in subject.]
Fumi	1862	Vinceslao Fumi (1826-80), Atala. Opera. Performed Buenos-Aires, Teatro Lirico, 1862.
Emery	1863	A. T. Emery and O. C. Jillson, “The Indian Lover.” Song for voice and piano.
Halévy	1863	Jacques Fromenthal Halévy (1799-1862). Jacuarita l’indienne. Opera comique in three acts. Libretto by Saint-Georges and Leuven. First performed, Theatre Lyrique, 14 May 1855. Score published Paris: Jules Heinz, n.d. [Later served as the basis for William Vincent Wallace’s opera The Desert Flower, 1863]
Parkhurst	1863	[Mrs.] E. A. Parkhurst, Mary Fay. Song. First Line: "By Mohawk's stream the Indian roved" Words by J. R. Orton.
Riddell	1863	Robert Scott Riddell, The Indian Waltzes. For piano solo. Reprinted 1880.
Wallace	1863	William Vincent Wallace (1812-65). The Desert Flower. Romantic Opera in Three Acts written by Mess. Harris and Williams. Published New York: William Hall & Son, 1863. See esp. No. 19, “Indian March and Chorus,” vocal score pp. 168-73 and several other numbers.
Wood	1863	Frank Wood (1844-1919), Minnehaha, Song and Chorus. For medium voice, chorus, and piano. Words by Captain R. H. Chittenden. Cover title: “To the Memory of the Victims of the Indian Massacre of 1862.” Refers to the Dakota Indian War of 1862-65. Published New York: William A. Pond, 1863, 7 pp.
Baumer	1865	Annette Baumer, The Indian Summer. Ballad. First Line: "They tell me of climes". London, 1865.
Cyr	1866	Léon Saint Cyr, Minnehaha (Laughing Water) for the Pianoforte. London, 1866.
Jost	1866	J. W. Jost, John Ross. Composed for the funeral of John Ross, Chief of the Cherokees. Words by Francis DeHaes Janvier. For high voice, SATB chorus, and piano. Published Philadelphia: C.W.A. Trumpler, 1866. Portrait of John Ross on front cover.
Ortega	1867	Ancieto Ortega del Villar (1825-1875), Guatimozin. Opera on an Aztec legend. Mexico. Premièred, the Gran Teatro Nacional on 13 September 1871.
Distin	1868	Theodore Distin, the Elder, The Indian Hunter. Song. First Line: "When the summer harvest". Words by Longfellow. London, 1868.
Winner	1868	Septimus Winner (1827-1902), Ten Little Injuns. Published Boston: Oliver Ditson, 1868. Reprinted in 1896. First Line of Chorus: “One little, two little, three little, four little, five little ‘Injun’ boys.” Performed by E. F. Dixey (E. Freeman), 1833-1904. Reproduced Philadelphia: Harry Dichter, 1956; Musical Americana, no. 88.
Work	1868	Henry Clay Work. “The Song of the Red Man.” Original publication unknown. In Songs of Henry Clary Work, 1884.
Caspari	1869	Theo Caspari, The Indian Lament Polka. [sic!] For Piano solo. Published Philadelphia: G. André & Co., 1869.
Glover	1869	Stephen Glover, The Indian Hunter’s Bride. Ballad. First Line: "Away, away". Words by J. E. Carpenter. Published London: Willey & Co., 52 Gt. Marlborough St. W., n.d.
Hatton	1869	John Liptrot Hatton, The Indian Maid. A Four-part Song, words by Mrs. N. Crosland. Published London: Novello & Co. Choral Songs. No. 5. Novello's Part-Song Book. Second Series. Vol.i. No. 60. [Edition also of 1886 and as late as 1907]
Meneses	1869	Miguel Meneses, Atala. Opera on Giuseppe Sapio’s libretto (see 1851). Performed Guadalajara, Mexico, 1869.
Sydenham	1870	Edwin Augustus Sydenham, Laughing Water (Minnehaha) morceau pour le Pianoforte. London, 1870.
Johnson	1871	James C. Johnson, The Indian Summer. Cantata. Edited in the Tonic Sol-Fa notation by J. Curwen. Reprinted 1882, arr. by T. Crampton.
Wood	1871	Frank Wood, Old Betz, a song. “Respectfully dedicated to Old Betz, a Sioux squaw 120 years of age, the oldest living Indian known." Words by J. H. Hanson. Published St. Paul, MN: Munger Brothers and NY: William A. Pond, 1871.
Bristow	1872	George Frederick Bristow (1825-1898), Indian War Dance. Mvt. 3 from The Pioneer (or “Arcadian”): Symphonie for grand orchestra, Op. 50. Unpublished. Composed 1872. First three movements intended as an orchestral prelude to a proposed cantata, never written on the same name: The Pioneer, Op. 49. Final ms. of symphony has Opus 50. First performance: Brooklyn 8 February 1873, Philharmonic Society. [Baker incorrectly cited the 1st perf. date of 14 Feb. 1874. This was corrected by Barton Cantrell at the NYPL.] CONTENTS.--1. Allegro appassionato -- 2. Adagio (Motive: Tallis' Evening Hymn) -- 3. Allegro ma non troppo (Indian War Dance) -- 4.Finale. Allegro con spirito - Presto.
Wood	1872	Frank Wood, Laughing Water, or The Enchanted Dell of Minne-ha-ha, a song. Words by J. H. Hanson. Published St. Paul, MN: Munger Brothers and NY: William A. Pond, 1871.
Poussard	1873	Horace Poussard, Danse de Sauvages Polka pour Piano. Paris, 1873.
Tivolie	1873	N. P. Tivolie, Hee-Lah-Dee! Song, with chorus. Words by Miss Katie Belle Wichmann. Published New York: Lee and Walker, 1873. Preface: “Among the superstitions of the Seneca Indians, was one remarkable for its singular beauty…”
Grobe	1874	Charles Grobe (after Bishop), “Hark! 'tis the Indian Drum,” Bishop's glee, arranged with variations for the Pianoforte.
Whitaker	1874	John Whitaker, The Indian Maid, Ballad. First Line: "Oh! this was the cot.” London, 1874.
Clay	1875	Frédéric Clay (1838-1889), Indian excerpts from Princess Toto, an operetta to a libretto by W. S. Gilbert. 3 acts, Covent Garden, 1875. Published London: Metzler and Co., n.d.
Debillemont	1875	Jean-Jacques Debillemont, Round the World. Indian galop. For piano solo. Published London, 1875.
Barker	1876	George Arthur Barker, The Scottish Blue Bells. First Line: "Let the proud Indian boast".
Barnett	1876	John Francis Barnett, The Indian Girl. Song.
Gallignani	1876	Giuseppe Gallignani (1851-1923), Atala. Opera in three acts. Libretto by Emilio Praga. Performed Milan, Teatro Carcano, 1876.
Mascall	1876	Sarah Frances Mascall, The Indian Bride. Romance. First Line: "Why comes he not"
Saunders	1876	Deshayes Saunders, The Indian Nurse Girl's Song. Words by J. A. Crosby. First Line: "Rest thee gentle baby".
Schultz-B.	1876	Heinrich Schultz-Beuthen, Indian Corn Dance. Published Cincinnati: John Church, 1876. Written for (and performed by) the Theodore Thomas Orchestra.
Schweitzer	1876	Otto Schweizer, Minnehaha (Laughing Water). Valse brillante, pour le Piano. Another, possibly reprinted edition, 1885.
Tussaud	1876	Frank Tussaud, The Indian Polka for the Pianoforte. London, 1876.
Satter	1877	Gustav Satter. No. 10, “War Dance of the Indians” from Douze Souvenirs pour piano. Op. 94. Published Leipzig: Fr. Kistner, 1877. Contents: No. 1. Mount Vernon (Elégie) No. 2. Newport (Barcarolle) No. 3. Bunker Hill (Prèlude hèroôque) No. 4. Saratoga (Valse noble) No. 5. Mount Tom <Vt.> (Marche matinale) No. 6. Farmington <Conn.> (Idylle) No. 7. Lagrange <Ga.> (FÍte de la RÈcolte) No. 8. Easton <Pa.> (Chant d'automne) No. 9 Louisville <Ky.> (Marche du 4 juillet) No. 10. Texas (Danse guerrière des Indiens) No. 11. Baltimore (Les premières roses) No. 12. New York (Serenade sur le Hudson).
Genée	1878	Genée, Franz Richard. Die letzten Mohicaner. Opera in 3 acts. Libretto by F. Zell after Cooper. Performed Vienna, 1878.
Phelps	1878	Ellsworth C. Phelps (1827-1913). Hiawatha Symphony for Grand Orchestra, Op. 31. First Performed under Theodore Thomas in New York on May 10, 1880 at the Brooklyn Academy of Music. [Ms. at NYPL.]
Fuller	1879	Charles A. Fuller, “Manitoba Bells.” Song for voice and piano. Words by Fordyce H. Benedict. New York: Spear & Dehnhoff, 1879. [Copy at MN.]
Pridham	1879	John Pridham, General Roberts's Indian March. For piano solo. London, 1979. [May be east Indian.]
Smallwood	1879	William Smallwood, The Indian March. For piano solo. London, 1879. [May be east Indian.]
Bennett	1880	William Sterndale Bennett (1816-1875), Indian Love, Song, etc. Six Songs. Op. 35. No. 1. London: Novello, Ewer, & Co., 1880.
Molloy	1880	James Lynam Molloy, Dinah Doe, The Golden Haired Darkey. Indian pastorale from My Aunt's Secret. The words by F. C. Burnand.
Phelps	1880	Ellsworth C. Phelps, The Last of the Mohicans (opera). Based on the novel by J. F. Cooper. Unproduced; score not located.
Sárosi	1881	Franz Sárosi (Schauer), Atala. Opera in five acts. Libretto by Anton Varady. Performed Budapest, Nemzeti Szinhaz, 1881.
Monica	1882	Monica Monica (pseud. for Emily M. Thackwell), The Song of an Indian Waterfall. "Gairsapa." [May be east Indian.]
Guglielmi	1884	Filippo Guglielmi (b. 1859), Atala. Opera. Performed Milano, Teatro Carcano, 1884.
Solomon	1884	Edward Solomon (1855-1895). Pocohantas, or The Great White Pearl. Comic opera produced at the Empire Theatre (1884). Libretto by Sidney Grundy. Song: “Thee Alone” (Serenade) Published London: Boosey & Co., 1884. Song: “A Fashionable General” also published 1885.
Troyer	1884	Carlos Troyer (1837-1920), Song of the Sunset Land (voice and piano with SATB chorus. Text by Richard S. White. Published San Francisco: A. Waldteufel, 1884, 3rd edition Caption title: “State national song of California.” First line: “There stood upon the mountain crest.” First line of chorus: “Nor did they dream in little space.” [12 songs, “Western” themes, but no specific Indian subjects].
Corder	1885	Frederick and Henrietta Corder, The Noble Savage. Operetta. Performed by the Alice Barton Opera Co. at Brighton Aquarium, London, 1885.
Gleason	1885	Frederick Grant Gleason (1848-1903), Montezuma (grand romantic opera in 3 acts; unpubl.; unperformed). Libretto by the composer.
Prior	1885	J. August Prior, Die Spanier in Peru. Opera for two evenings. Librettos by O. Erichs. Performed Nordhausen, Tivolitheater.
Foote	1886	Arthur William Foote (1853-1937). The Farewell of Hiawatha Op. 11, for baritone solo, male chorus and orchestra. Published Boston: Schmidt and Co., 1886, 27 pp. Reprinted 1914. Based on Longfellow’s text. First performed 12 May 1886 by the Apollo Club of Boston under B. J. Lang.
Hendricks	1886	Welland Hendricks. Pocahontas, a “burleque operetta in two acts” Text published Chicago: T. S. Denison & Co., 1886. Ballad opera with adapted familiar tunes, some from Gilbert and Sullivan operettas.
Troyer	1886	Carlos Troyer, Apache Chief Geronimo's Own Medicine Song. Voice and piano. Published San Francisco: Henry Grobe, 1886.
MacDowell	1887	Edward MacDowell (1860-1908). Sketches for a symphonic poem to be titled “Hiawatha and Minnehaha.”
Ulrich	1887	John Ulrich, Bamboula Dance for the piano. No. 2 from West Indian Melodies. Also arranged for orchestra.
Delius	1888	Frederick Delius (1862-34). Hiawatha (tone poem for orchestra, ms.). According to Threlfall, the work was begun in late 1887 and completed in January 1888. Of the 90-page full score in the Archives of the Delius Trust London, pp. 4-17 and 46-53 are missing. Delius incorporated sections of this work into other compositions.
Grethen	1888	Adolph Grethen, Indian War-dance, from the opera Manitou, for the piano-forte. Published Minneapolis, A. Grethen, 1888.
Pfennig	1888	Albert Pfennig, On the Trail. “Indian War March.” For piano solo. London: Bowerman & Co., 1888.
Reiset	1888	Marie Felicie Clemence de Reiset (“Vicomtesse de Grandval,” 1830-1907), Atala. Opera in 1 act. Libretto by Louis Gallet. Performed Paris, 1888. Music is lost.
Maccartney	1889	Robert Hyslop Maccartney, Gill's Indian Club Exercises for use in schools, with musical accompaniments adapted and arranged for Piano-forte or Harmonium, etc. Musical Drill
Fillmore	1890	John Comfort Fillmore (1843-1898). Indian Fantasia, No. 1, for full orchestra. Based on the song “Hae-thu-ska.” Composer’s footnote: “The song which forms the staple of this Fantasia is one of a large number noted down from the singing of the Omaha Indians by Alice C. Fletcher of the Peabody Museum. The words mean ‘the affairs of men are in the hands of the Gods. When they speak, men obey.’” [12-page ms. orchestra score at LC; copy also at Loeb Library, Harvard University.]
Gilbert	1890	Henry Franklin Belknap Gilbert (1866-1928). Gilbert transcribed Indian music from cylinders sent back to Boston from the Hemenway Expedition. Became involved with the photographer Curtis at this point.
Knapp	1890	John Knapp, Indian Love. Song, the words by Barry Cornwall. London & New York: Novello, Ewel, & Co., 1890.
Sousa	1890	John Philip Sousa (1854-1932), Adaptations of American Indian Melodies in his National, Patriotic and Typical Airs of All Lands Published Philadelphia, 1890.
Bellstedt	1891	Herman Bellstedt, Indian War Dance. Orchestra music (with 18 parts). Published Cincinnati, Ohio: John Church, 1891.
Bott	1891	Jean Joseph Bott, Indian Cradle Song for Violin & Piano. Op. 46.
deKoven	1891	Reginald De Koven (1859-1920), Indian Love Song. Voice and piano. Words by F. E. Weatherly. London: Chappell & Co., 1891.
Gaggs	1891	Oliver Gaggs, The Minnehaha Lancers. For piano solo. London: Francis, Day, & Hunter, 1891.
Hamilton	1891	R. H. Hamilton, arr. and ed. Cabin and Plantation Songs, - as sung by the Hampton students. Arranged by J. P. Fenner and F. G. Rathbun. To which are added a few Indian Songs and Songs of the students of the Normal School, Tuskegee, Alabama. Enlarged Edition Fenner. Thomas P 1891.
Prescott	1891	Caroline Prescott, Indian Summer. Waltz. For piano solo.
Thomas	1891	Arthur Thomas, Indian Serenade. Canoe Song, with violin or violoncello accompaniment ad lib. Written and composed by A. Thomas [Edition, also of 1899]
Baldwin	1892	Ralph Lyman Baldwin (1872-1943), Wanita, musical burlesque. Published Boston: Miles & Thompson, c.1892. [Sibley M1503.B182W]
Cowen	1892	Frederic Hymen Cowen, Onaway, Awake, Beloved! For low voice and piano. Text from Longfellow’s Song of Hiawatha. Published in Longfellow’s Songs. Published Boston: O. Ditson, 1892. London: E. Ashdown, 1892.
de Loëtz	1892	Paul de Loëtz, An Indian Ride. Descriptive piece for piano. Arr. in 1896 for Mandoline with Accompaniments for Guitar or Pianoforte and Bells - ad lib. - by A. St. Clair
Folville	1892	Juliette Folville (b. 1870), Atala. Opera in two acts after Chateaubriand. Libretto by Paul Collin. Performed Lille, Théâtre Municipal, 1892. Published Liège: Vve Léop. Muraille, 1894.
Gomes	1892	Carlos Gomes. Colombo. “Vocal-Symphonic Poem.” Text by Albino Falanca. Published in Milan.
Hewitt	1892	Percy M. Hewitt, West Indian Dance for the pianoforte. Published London: Ransford & Son, 1892.
Schoenefeld	1892	Schoenefeld, Henry (1857-1936). Rural Sympony (orchestra, New York, 1892); •“Suite Caractéristique,” op. 15. No date (n.d). •Two “Indian Legends” (orchestra, n.d.); •a pantomime-ballet “Machicanta” (the last three are cited in the 1928 Grove American Supplement, 253; Elson calls the ballet “Wachicanta” [p. 377]; so does Hughes in American Composers [1900]); •Die drei Indianer (“ode” for male chorus, solo, and orchestra; unpubl.; no known performance).
Zöllner	1892	Heinrich Zöllner (1854-1941), Indianischer Liebesgesang (“Indian Love Song”). Text from Longfellow’s Hiawatha. Composed for the 50th anniversary of the Kölner Männergesangverein (founded 1842);
Bristow	1893	George Frederick Bristow (1825-1898), “Niagara Symphony,” op. 62 for solo voices, chorus, and orchestra. [One source says incomplete at his death, no publ. date, 154-page ms. score (no date) at NYPL. Score for orchestra only, with choral cues. Choral part appears separately.]
Burton	1893	Frederick Russell Burton (1861-1909). “The Dance of Paupukkeewis” from Hiawatha for chorus and orchestra. [10-p. ms. score at the LC.] [Cited in the 1928 Grove American Supplement as “one of the first attempts to use Indian themes.” Rupert Hughes writes (American Composers, 1900): “In this work use is made of an actual Indian theme, which was jotted down by H. E. Krehbiel, and is worked up delightfully in the cantata, and incessant thudding of a drum in an incommensurate rhythm giving it a deadly barbaric tone.”]
Coerne	1893	Louis Adolphe Coerne (1870-1922). Hiawatha, Op. 18 (symphonic poem. Finished Munich, Apr. 16, 1893. Published Boston: Miles and Thompson, 1894. Dedicated to “Seiner Excellenz Freiherrn von Perfall in München.” First American perf. in 1894 by Boston Symphony Orchestra in Cambridge, Mass. under composer’s direction. [Coerne’s autograph full score of Hiawatha is in the Boston Public Library, Music Dept. (M.451.100).] CONTENTS.--4 Movements: 1. “Hiawatha’s Birth and Childhood; His Struggle with his Father Mudjekeewis, the West Wind,” 2. “Hiawatha’s Wooing of Minnehaha,” 3. “Dance of Pau-Puk-Keewis and Song of Chibiabos at the Wedding Feast,” 4a. “Death of Minnehaha,” and 4b. “The White Man’s Foot.”
Dvoák	1893	Antonín Dvoák (1841-1904), Sketches from his proposed opera on Hiawatha; apparently these went into his Symphony No. 9, “From the New World.” Theme from the slow movement of the symphony was set to text in 1922 by Dvoák’s pupil William Arms Fischer as “Goin’ Home.” Early performances of this work are numerous. First performed at Carnegie Hall in New York, 16 Dec. 1893 by the Philharmonic Society under Anton Seidl.
Loehr	1893	Richard Harvey Loehr, “An Indian Love Song,” No. 9 in “Album of Ten Songs. Words translated from Heine by E. Radford.
Nugent	1893	Claude Nugent, The Wild West Show. Song for voice and piano. Written by George Nugent & Arthur Waugh. Published London: Hopwood and Crew, 1893.
Troyer	1893	Carlos Troyer, Two Zuñi Songs “transcribed and harmonized by Carlos Troyer; to his friend Prof. Dr. Frank Hamilton Cushing, Director of the Hemenway Archaeological Expedition.” For voice and piano. Published San Francisco: Sherman, Clay, & Co., 1893, 7pp. Later published with text in the Wa-Wan Press; see 1904 CONTENTS: 1. “Zuñian Lullaby: An Incantation Upon a Sleeping Infant,” – 2. “Zuñian Lover’s Wooing.”
Waller	1893	Waller, Henry (1864-?). Ogalalla. Opera. First performed in Chicago by the Bostonians, Feb. 20, 1893.
Abram	1894	Edward J. Abram, The Indian Sun Dance, etc. New York. [copy at BL]
Conterno	1894	Giovanni E. Conterno, Aria e coro. – Quadrille ("Indian”). Text by G. Franco. (On Indian airs.) - Danse comique. From Punch and Judy. E. Boggetti. [Source unknown.]
Dvoák	1894	Antonin Dvoák, Sonatina, op. 100 for violin and piano. Published Berlin: N. Simrock, 1894. [Dvoák’s secretary Josef Jan Kovarík indicated (in an unpublished letter, see Beckermann) that Dvoák used the Minnehaha Falls (near St. Paul, Minnesota) as an inspiration for the 2nd movement, Larghetto, which is often called “Indian canzonetta.” This movement was published separately in 1894 by Simrock as op. 100, no. 2. Transcribed in 1910 by Fritz Kreisler as “Indian Lament in G minor” for violin and piano (Berlin: Simrock) and also by Gaspar Cassado for cello & piano in 1914 (New York: Carl Fischer, 1914; reprint, New York: International Music Co., 1947). Kreisler popularized the piece in his recitals under that title. [Sibley M236.D988I] also see “In process” (1914, 6 pp.) It was arranged by Otto Langey in 1918 (see) as one of two “Indian” pieces for silent film accompaniment.]
Fillmore	1894	John Comfort Fillmore, “Folk-music of the Omaha Indians for young pianists collected and arranged by John Comfort Fillmore” Published Milwaukee: Joseph Flanner; 7 pp.
Kell	1894	Nelson T. Kell, Little Papoose. “Indian Lullaby.” Words by C. Warman. New York City: Widmer-Stigler, 1894.
Beach	1895	Amy Marcy Cheney Beach (1867-1944). “An Indian Lullaby” Op. 57, no. 3, for four women’s voices and piano. N.p.: Bryan, Taylor and Co., N.d. Anonymous poem. Cover portrays countryside with wigwams. Beach later used the music of the Lullaby as a basis for he Theme and Variations for Flute and String Quartet, Op. 80 (1920). Reprinted in Three Centuries of American Music, gen. ed. Martha Furman Schleifer and Sam Dennison, Vol. 8, American Chamber Music, ed. John Graziano (N.p.: G. K. Hall, 1991), 351-55.
Crook, J	1895	John Crook, Indian Lullaby from The New Barmaid. London: Hopwood & Crew, 1895.
MacDowell	1895	Edward MacDowell, Second Orchestral Suite, op. 48, “Indian” (orchestra, 1895). First performed in New York City by the Boston Symphony on Jan. 23, 1896. Adapted for piano four-hands in 1897. [Original sketch of the “Dirge” [1891?] is in the Special Music Collections at the Boston Public Library.] FIVE MOVEMENTS.--1) “Legend,” 2) “Love Song,” 3) “In War-Time,” 4) “Dirge,” 5) “Village Festival.” Arranged by Otto Taubman for piano solo. New York: Associated Music Publishers, 1933.
Stone	1895	Fred S. Stone and Edward Liggett, “The Indian: Two-Step.” Published Detroit: Central Music Publishing Co., 1895.
Tipton	1895	Lewis Campbell Tipton, Powhatan, Opera. Text by William A. Baker. Composed “with John A. West.” First Performed Evanston, IL.
Coleridge-Taylor	1896	Samuel Coleridge-Taylor (1875-1912). Hiawathan Sketches, Op. 16 for violin and piano. Published Augener, 1897. Reprinted 1908. First performed in the Salle Erard (London) in a joint concert with the African-American poet Paul Laurence Dunbar. [These pieces were the composer’s first venture into the Hiawatha legend.] Contents: 1. “A tale,” – 2. “A song,” – 3. “A dance.”
Goldmark	1896	Rubin Goldmark (1872-1936). Hiawatha Overture (orchestra). First performed by the Boston Symphony Orchestra 13 Jan., 1900. [Composed while living in the Rocky Mountain region. “The composer made no attempt to use Indian folk-tunes” (Philip Hale, program notes)]
Leonard	1896	A. E. B. Leonard, Wigwam Dance for piano solo. Published New York: Howley, Haviland & Co. 1896.
MacDowell	1896	Edward MacDowell, From an Indian Lodge. No. 5 from Woodland Sketches, Op. 51. Piano solo. Published Boston & New York: Arthur P. Schmidt, 1899. 2 pp. Arranged by James Wehr for brass quartet (2 trp/horn/tromb/tuba), published Winter Park, FL: Wehr's Music House, 1995.
Miersch	1896	Paul Friedrich Theodore Miersch (1868-?) Indian Rhapsody (orchestra, 1896) First performed in New York at a concert of the Manuscript Society, seventh season at Chickering Hall, 3 Dec. 1896, under the direction of Silas Pratt (orchestra of 55). [Reviewer in The Pianist wrote: “Mr. Miersch’s ‘Indian Rhapsody’ made the hit of the evening and is likely to be heard elsewhere. It is written on motifs derived from the songs and dances of the Ute Indians, and displays much originality and ingenuity of treatment.”] Music is lost.
Culwick	1897	James Cooksey Culwick, The War Dance. A Part-Song, unaccompanied. Words by Thomas Moore. Published London: C. Vincent, 1897.
Stearns	1897	Theodore Stearns (1880-1935). Before the Door of the Wigwam (suite for full orchestra from “Hiawatha’s Wedding”; unpublished). Score is signed: Würzburg, Bavaria, 29 April, 1897. [Score in Fleisher Music Collection.]
Tempest	1897	Robert Tempest, “Indian Cradle-Song.” Boston: Oliver Ditson, 1897.
Walter	1897	August Walter (1821-1896). “Hiawatha” Symphony. Performed Brooklyn, New York, Dec. 9, 1897.
Woodman	1897	Raymond Huntington Woodman, “Indian Cradle Song,” no. 3 of Five Slumber Songs. New York: G. Schirmer, 1897.
Boatwright	1898	Thomas Boatwright, Indian March. (The Diamond Jubilee.) For piano solo. London: Klene & Co, 1898. [Probably East Indian.]
Burton	1898	Frederick Russell Burton, Hiawatha (“dramatic cantata” for chorus and orchestra after Longfellow; expanded version of his earlier single-movement work, q.v. 1882). Full score (303 pp.) and vocal score (170 pp.) published Boston: Ditson, 1898; the latter reprinted 1908). Includes composer’s introductory notes. Dedicated to the “Yonkers Choral Society.” In three parts. CONTENTS: Part I : . Prelude – 2. Introductory Chorus – 3. “Hiawatha and Mudjekeewis.” Part II: 1. “Hiawatha’s Wooing” – 2. “The Wedding Festivities” (a. “Onaway! awake, beloved!” -- b. The dance of Paupukkeewis -- c. “When I think of my beloved.” Part III: 1. “The Famine” – 2. “Hiawatha’s Vision” – 3. “Hiawatha’s Departure.” • Burton is also believed to have composed an “Ojibway Symphony” (see 1907 bibliographical entry; ms. score and parts at the LC). [also bio in the 1928 Grove American Supplement and Thompson, International Cyclopedia] (The finale of the cantata is printed in Burton’s posthumous American Primitive Music, 1909.) [copy at BL]
Coleridge-Taylor	1898	Samuel Coleridge-Taylor, Scenes from the “Song of Hiawatha” (3 cantatas--or an oratorio in 3 parts--for soli, chorus, and orchestra). Part 1 (Op. 30, no. 1), Hiawatha’s Wedding Feast (first performed Royal College of London, 1898); Part 2 (Op. 30, no. 2), The Death of Minnehaha (1899); and part 3 (Op. 30, no. 4), Hiawatha’s Departure (1900); First complete performance in England in 1900. In U.S. (by the Cecilia Society): Haiwatha’s Wedding Feast, Boston, Mar. 14, (or 12?) 1900; Hiawatha’s Departure, Boston, Dec. 5, 1900; The Death of Minnehaha (together with Hiawatha’s Departure) on Dec. 2, 1902. First “official” complete performance in America was in Easton, Pa. on May 5, 1903 by the Orpheus Oratorio Society under Charles Knauss. First actual performance (with two pianos) was by an all Black chorus for a largely Black audience of some 2000 in April, 1901 at the Metropolitan African Methodist Church in Washington, D.C. under John T. Layton. In 1904, C.-T. himself came to Washington to conduct a complete Hiawatha with the U.S. Marine Band (expanded) in Constitution Hall, a performance which apparently made a splash in the press.
Hadley	1898	Henry Hadley (1871-1937), Lelawala: A Legend of Niagara, Op. 13. One of Hadley’s six “ballades for mixed chorus and orchestra.” Poem by G.F.R. Anderson. Vocal score published Boston: Arthur Schmidt, 1898. Orchestra score and parts in mss.
Kroeger	1898	Ernest Richard Kroeger (1862-1934). “Hiawatha” (“symphonic overture.” Performed by the Thomas Orchestra, acc. to Elson, 1925, in Omaha for the 1898 Exposition). Also mentioned in a St. Louis Symphony Orchestra program from the 1920s in which Kroeger conducted. “Hiawatha” is supposed to have used actual Indian themes. Ms. score (pencil, 57 pp.) at the LC; undated. CONTENTS (from Longfellow): 1. “The Council of Hiawatha; Manitou’s Promise of a Prophet and Teacher” -- 2. “Hiawatha’s Youth” -- 3. “Hiawatha’s Wooing” -- 4. “The Hunting of Pau-Puk-Keewis” -- 5. “The Famine and Death of Minnehaha” -- 6. “Hiawatha’s Departure.”
Le Brunn	1898	George Le Brunn, The Indian Prince. [Song.] Written by A. Hall. London: Francis, Day, & Hunter, 1898.
Ridley	1898	Sebastian Claude Ridley, The Indian Expedition. Descriptive Fantasia for the piano. London: Evans & Co., 1898. [May be East Indian.]
Seidl	1898	Seidl, Anton (1850-1898). Manabozho. Unfinished opera based on the Hiawatha legend. [Seidl Collection is at Columbia University.]
Horrocks	1899	Amy Elise Horrocks, An Indian Lullaby. Song, words by M. Gillington. London: Houghton & Co., 1899. [Another edition 1904]
Slaughter	1899	Walter Slaughter (1860-1908). Incidental music to The Sioux. Drama on Western topic at the Oxford Theatre, London.
Castro	1900	Ricardo Castr, Atizamba. Opera on an Aztec subject. Mexico.
Cattelani	1900	Ferruccio Cattelani (1867-1932), Atahualpa. Opera in four acts. Libretto in Italian by C. F. Scotti. Performed Buenos Aires.
Evans	1900	George Evans, Chihuahua (Cheewawa), An Indian Love Song. New York: Howley, Haviland, and Co., 1900.
Farwell	1900	Arthur Farwell (1872-1952), Academic Overture “Cornell,” Op. 9. First performed Cornell University Orchestra, Ithaca, New York; approx. 12 min.). [Score is lost; parts survive.]
Henschel	1900	Carl Henschel, “Indian Lullaby,” No. 4 of A Camp in the Woods. For piano solo. Chicago: S. Brainard’s Sons, 1900. CONTENTS: 1. Patrol of the Bears -- 2. Reynard the Fox -- 3. The Meeting of the Stags -- 4. Indian Lullaby -- 5. The Chase -- 6. The Elf Dance.
Rodwell	1900	Ernest Hunter Rodwell, Indian Lover's Prayer. Song for voice and piano with words and music by Rodwell. London: C. Vincent, 1900.
Tipping	1900	Frank Tipping, Indian Dance for the Pianoforte. Published London: E. Ashdown, 1900.
Farwell	1901	Arthur Farwell, American Indian Melodies (18 “melodies harmonized from the original Indian” for piano, 1900), Wa-Wan Press, 1901, vol. 1, no. 2; Also 10 of these edited and arranged for the piano, with an introduction, by Arthur Farwell, Op. 11. Recently reprinted Boca Raton, Flordia: Masters Music Publications, 1999. Also 13 of these arr. (voice and piano, 1901-04, in ms.) and 1 arr. (mixed chorus and piano). CONTENTS: 1. “Approach of the Thunder God,” – 2. “Choral,” – 3. “Ichibuzzi,” – 4. “Inketunga’s Thunder Song,” – 5. “The Mother’s Vow,” -- 6. “The Old Man’s Love Song,” – 7. “Song of the Deathless Voice,” -- 8. “Song of the Ghost Dance,” – 9. “Song of the Leader,” – 10. “Song to the Spirit”
Hadley	1901	Henry Hadley, Symphony No. 2 in F minor (“The Four Seasons”), third movement, “Summer.” Published Boston: Arthur P. Schmidt, 190. First performance of “Summer” under Hadley by the Manhattan Symphony at the Waldorf-Astoria, 16 Jan. 1900 (Hadley’s conducting debut). Performed complete in 1901, New York City and 1902, Chicago Symphony under Theodore Thomas.
Kaun	1901	Hugo Kaun (1863-1932), Zwei symphonische Dichtungen nach Longfellows Hiawatha: Minnehaha & Hiawatha, Op. 43. 1. Minnehaha. No. 2. Hiawatha. Published Hamburg und Leipzig: D. Rahter, 1902. Minnehaha first performed Berlin, Oct. 17, 1901. First performance in the U.S. by the Chicago Symphony, see program for Feb. 7, 1903, and the Boston Symphony, see program for Jan. 29, 1904. Also performed again by Chicago Symphony, March 29-30, 1912.
MacDowell	1901	Edward MacDowell, Indian Idyll. No. 6 in New England Idyls, Op. 62. Piano solo. Published Boston & New York: Arthur P. Schmidt, 1902. 3 pp.
Moret	1901	Neil Moret (a.k.a. Charles N. Daniels, 1878-1943), Hiawatha, Op. 6. “A Summer Idyl,” also “A Romantic Love Song.” Piano solo. Dedicated to Mr. Harvey Deardorff. Published St. Louis: Daniels & Russell--Moret’s own company). Reprinted Detroit: Whitney Warner Publ. Co., 1902 (See complete score in pic file.)