Amelia Adelaide Van Vleck (1835-1929)
The Irma Waltz
Salem Band Waltz
The Unknow Soldier Boy
My Dear One's Waltz
The River Waltz
Waltz
The Centennial March
The Sky Lark
The Carolina March
The Rainy Day
Lullaby
Colonel Belo's March

Francis Florentine Hagen (1815-1907)
A Loving Home's a Happy Home
Alma Mater
The Grave of My Wife
Mowing the Harvest Hay
Her Last Words at Parting
A Friend in Need, Is a Friend Indeed

Lisetta Maria Van Vleck (1830-1914)
The Nettie Galop
Hannah Polka
Our Words of Love
Mollie March
Annie Schottisch
Annie March
L'Amitié Waltz
Laura Polka
Parthenia, Valse Sentimentale

Carl Anton Van Vleck (1794-1845)
The Watch-Tower Light
Early Friends

Anonymes
The Hope, The Star, The Voice
Come Hunters Young and Old

Hannah Rose Carter, soprano
Mary Siebert, alto
Glenn Siebert, ténor
Jason McKinney, basse-baryton
Barbara Lister-Sink, piano
Susan Keck Foster, piano (accompagnement)

The Moravian musical heritage is an important piece of American musical and cultural history in that it represents the finest body of music written or performed in America during the eighteenth and early nineteenth centuries. During the eighty years from about 1760 to 1840, American Moravians wrote hundreds of anthems, duets, solo sacred songs, and instrumental pieces, and collected hundreds of others—both printed and hand copied. The eighteenth and nineteenth-century Moravians considered music as a necessity of life, not as a cultural veneer. Many Moravian clergy and lay people were trained in music by the same composers who influenced Mozart and Haydn; thus they came to the New World fully conversant with the taste and practice of European classicism. Perhaps the most “colorful” and engaging women in Moravian musical history are the three “Van Vleck sisters” of the nineteenth century—Louisa Cornelia Van Vleck (1826–1902), Amelia Adelaide Van Vleck (1835–1929), Lisetta Marie Van Vleck (1830–1914). Born into a family of musical Moravian ministers spanning several generations, these three women all inherited—and made use of—the musical gifts of their ancestors. In addition to the music of two of these talented women, this anthology includes a few works by two Moravian male composers of the nineteenth century: Francis Florentine Hagen (1815–1907), who composed the beloved hymn Morning Star and a number of sacred anthems; and Carl Anton Van Vleck (1794–1845), father of the three Van Vleck sisters. Most of the compositions of these four composers were written for very small forces—piano or songs with piano accompaniment. Sixteen solo piano works are interspersed with fifteen works for voices (solos, duos, quartets) with piano accompaniment. This varied collection provides an excellent overview of a hitherto undocumented facet of Moravian music culture—secular works for enjoyment at home—and is thus a valuable addition to the discography of early American music.