Compiled and narrated by the fiddler Matt Combs, John’s daughter Katie Harford Hogue, and the musicologist Greg Reish, the book illuminates Hartford’s creative process through original tune compositions, his own reflections on the fiddle, and interviews with family and fellow musicians.
The volume includes more than 60 of Hartford’s personal drawings—ranging in theme from steamboats and the river, to fellow musicians, home and everyday life—as well as several never-before-seen photographs.
Above, a page from the book: Hartford’s Annual waltz as part of a holiday card and invitation to his 1980 wedding; below, the composer performs the song and tune.
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Still fewer of those who love the tune realize that the title refers to a site that is now known as The Ashokan Center, an outdoor education, conference, and retreat facility located in the Catskill Mountains of upstate New York that Ungar—together with his wife and musical partner, Molly Mason—was using for summer traditional music and dance camps.
Decades after Ungar composed Ashokan farwell, and following his performance of it at the White House and in various U.S. ceremonial settings, Ungar managed to leverage its emotional connections in a successful effort to preserve the location and create a $7.25 million campus there dedicated to traditional music, Catskill history, environmental education, and local arts and crafts.
Part of the Library of Congress’s American Memoryseries, Fiddle tunes of the old frontier: The Henry Reed Collection is a multiformat collection of traditional fiddle tunes played by Henry Reed of Glen Lyn, Virginia, recorded by Alan Jabbour in 1966 and 1967, when Reed was over eighty years old. The tunes represent the music and evoke the history and spirit of Virginia’s Appalachian frontier; many of them passed back into circulation during the fiddling revival of the later twentieth century.
The collection includes 184 sound recordings, 19 pages of field notes, and 69 transcriptions of Reed’s fiddling with notes on tune histories and musical features; an illustrated essay on Reed’s life, art, and influence; a list of related publications; and a glossary of musical terms.
Above, Reed with Bobbie Thompson (guitar) at the Narrows (Virginia) Fiddlers Contest, summer 1967. Below, Alan Jabbour performs a tune that he learned from Henry Reed.
Byrd learned traditional fiddling and singing when he was growing up in the mountains of Appalachia. He deployed his talents strategically in his early political campaigns, when he was known as “Fiddlin’ Robert Byrd”. He also performed for the Grand Ole Opry, and recorded an album that has recently been re-released by County Records.
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