Music, History, Women, and Heritage

Author: Bonny Miller Page 3 of 6

Augusta Browne’s American Bouquet, Part 1

On the Fourth of July, 1826, Augusta Browne strolled along the streets of Boston with her siblings and parents. The day held special significance since it was the fiftieth anniversary of Independence Day, the day the Continental Congress passed the Declaration of Independence. Bands were marching and performing in parades and celebrations throughout Boston. Augusta’s father had even persuaded Mr. Kendall’s Brigade Band to play his American Grand March in one of the events. 

The Browne family had only arrived in Boston a few weeks earlier. It was Augusta’s first taste of America after living in St. John (New Brunswick, Canada) since she was a toddler. The Boston Commercial Gazette reported that the “glorious day was celebrated in this city with every becoming demonstration of joy and gratitude.” The little girl drank in the sights and sounds of the grand celebration in Boston. Memory of the festive, patriotic music heard that day may have lingered in Augusta’s mind as one of her earliest impressions of the United States. That memory may have been a catalyst years later for her American Bouquet.

American Bouquet, first edition (Philadelphia: Osbourn’s Music Saloon, ca. 1840). Digital Image, Boston Public Library

Augusta Browne’s American Bouquet, Part 2

The early editions (ca. 1841) of Augusta Browne’s American Bouquet bore a dedication to “Miss Sarah E. Wise of Virginia.” Although this flourish disappeared in subsequent imprints by Lee and Walker, the dedication to Sarah Wise presents an interesting connection from composer to consumer. The trajectories of these women’s lives raise questions about their respective actions during the Civil War some two decades later.

AUGUSTA BROWNE

Composer and Woman of Letters in Nineteenth-Century America

Bonny H. Miller

Use promo code BB135 to receive your discount.

Augusta Browne Garrett (ca. 1820–82) was one of the professional women musicians most active in publishing sheet music in nineteenth-century America. Her lively songs and piano solos, prose, and music journalism present an engaging period voice neglected for too long.

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The 2021 H. Robert Cohen/RIPM committee of the American Musicological Society expressed “high respect” for the “superlative quality of Bonny Miller’s work” and awarded Honorable Mention as a “mark of distinction” for Augusta Browne: Composer and Woman of Letters in Nineteenth-Century America. The H. Robert Cohen/RIPM Award is awarded by the AMS each year for outstanding work based on the musical press.

“Bonny H. Miller’s Augusta Browne is a superb piece of musicological scholarship. Every chapter reveals methodological mastery, nuanced analysis, engaging writing, and contagious enthusiasm for restoring a historical figure who has been undeservedly neglected.” [Journal of the International Alliance for Women in Music]

“The author deftly sets up the forces in Browne’s life, both from her family, training, and social class, and from the wider cultural world surrounding her.” “engagingly written” “richly contextualized” [Journal of Musicological Research]

“This biography is an inspiration and should be included in any graduate-level research methods class for future scholars to learn from Miller’s methodologies.” [Music Library Association Notes]

ISBN: 9781580469722; 480 pp., 20 b/w & 50 line illus., Eastman Studies in Music

Library ebook ISBN: 9781787448834

Augusta Browne Was a Cat Lover

Augusta Browne loved cats, as her prose writing demonstrates.

Does not a fluffy cat, of stately demeanor, confer a positive dignity on the family hearth?

Augusta Browne Garrett, “All Good Persons Love Dumb Animals,” Episcopal Recorder, February 7, 1877.

The Favorite Cat,” hand-colored lithograph published by Nathaniel Currier, 1838–48, Metropolitan Museum of Art, Bequest of Adele S. Colgate, 1962, Accession Number: 63.550.159

In her 1877 article from the Episcopal Recorder, shown in full below, Browne tells anecdotes about memorable cats from her family home. Some knew clever tricks. Others, like Rubin (named for the Russian pianist Anton Rubinstein), had musical tendencies. She extols the usefulness of cats to control rodents, in addition their innate “beauty, talent, amiability, and industry.” The lesson of the essay is a universal message to treat animals humanely. Browne concludes:

It is impossible to love God and be cruel to the creatures that he has committed to our care.

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