Father of American Choral Music
Born: Boston, Massachusetts, 7 October 1746
Died: Boston, Massachusetts. 26 September 1800
It has been suggested by some scholars that the frontispiece (shown above) in the first Billings collection from 1770, The New-England Psalm-Singer, by Boston patriot and engraver, Paul Revere, shows Billings leading a singing session with a small group of men singers. If true, that engraving is the only likeness of this Father of American Choral Music.
The Musical Life of William Billings
Three questions might be asked about his music.
First: Why is this first major American song composer not as well known as other famous Bostonians, like Paul Revere and Sam Adams?
Second: Doesn't he deserve to be better known?
Third: Are present day performances appropriate
re-creations of the music by William Billings?
The answer to the first question is he is not known as much because
though he was a singing teacher and composer he spent more time in
other jobs in order to maintain his large family,
and was known in Colonial Boston primarily as a tanner.So he is not remembered by most historians. But Billings did know and was
in agreement with the protests made by Sam Adams and others in Boston.Also, his friend, Paul Revere, designed the frontispiece illustration for the
first Billings music collection, The New-England Psalm-Singer, published in
1770, and is the first major collection of vocal music by an American
composer. Therefore, he should be better known.The second question may be answered with one word -- Yes!
The main reason is that his music was the most respected in his time and
can still have meaning and message for us today.And to answer the third question -- Yes and No.
Some performances strive to be as close as possible to the
Billings singing style -- an emphasis on the tenor (main melody) and bass
voices. But concerning tempo, the answer would be mostly -- No.
The performances are often much faster than Billings intended and often
too much emphasis on speed singing, especially with Sacred Harp singers.A bit of advice:
slow down and savor the beauty of these fine early American tunes!Billings was the best known and the most prolific composer of choral music
in 18th century America.He composed over one hundred pieces for chorus published in six tune
collections between 1770 and 1794. The music includes: psalm tunes,
hymns, anthems and set pieces and no known instrumental works.His best known tune is titled, CHESTER (first published in 1770;
with additional stanzas in 1778, and a new text not by him in 1786) --
it was sung in the first episode of the acclaimed HBO television series,
JOHN ADAMS.Here are two stanzas of the 1778 version:
Let tyrants shake their iron rod
And Slav'ry clank her galling chains,
We fear them not, we trust in God
New-England's God forever reigns.The foe comes on with haughty Stride;
Our troops advance with martial noise
Their Vet'rans flee before our Youth
And Gen'rals yield to beardless boys.Michael Medved, is one of the few historians to single out the importance
of this Billings war song in his time and in our time as well. This is what
he wrote in his book, The American Miracle (page 70):This brief song unforgettably captures the unique combination of warlike determination and unshakable faith that characterized most of the American fighters and inspired twentieth-century composer William Schuman to craft his 1956 concert-piece, New England Triptych. The last section of the work, based on "Chester," brilliantly portrays the transition from church-like reverence to inexorable march, with "martial noise" and then to explosive amazement, overwhelming gratitude, and sheet delight at victory.
Musicologist Richard Crawford in
The Core Repertory of Early American Psalmody (1984) wrote the following
about this important patriotic song:Set originally to a defiant patriotic text, CHESTER is remembered as an emblem of Americans' resistance of British domination before and during the War of Independence...Its current status as a recognizable piece of early Americana owes much to its fiery original text and to its appearance in William Schuman's New England Triptych (1956), composed for orchestra and for band the next year. Familiar to both choral directors and bandmasters, CHESTER today is more likely to be heard at a choral concert or a football halftime show than to be sung in public worship.
In 1786, the Billings text was replaced, probably because of such lines as:
"New England's God forever reigns."The alternate text in 1786 was not focused on wartime.
Listen to both versions of the tune:
"Chester" - William Billings -
two versions: 1778 (Billings words) and 1786 (Philip Doddridge words)The largest collection with Billings tunes published in the 19th century,
was edited by musicologist and music preservationist, Roger Lee Hall:
The Stoughton Musical Society's Centennial Collection of Sacred Music
(Boston, 1878/ Reprint, DaCapo Press, 1980)As the conclusion of his humorous anthem, MODERN MUSIC, the words say:
"Tis the part of the hearers to clap their applause."So let's clap our applause for America's
Father of American Choral Music -- William Billings!Here are a few performances of compositions
by William Billings:Anthem: "And I Saw I Mighty Angel" (1781) - Mahyla Marie
Anthem: ""As The Hart Panteth"(1770) - William Appling Singers & Orchestra
Memorial Plaque in Boston:
This plaque was placed on Tremont Street in Boston and reads:
One of America's earliest native born (Boston) composers who greatly enhanced a musical awareness within the colonies, by respected tradition, his final resting place is believed to be an unmarked grave within this area of the Common.
Presented on the occasion of America's Bicentennial and in conjunction with the 1976 National Convention of the AMERICAN GUILD OF ORGANISTS by the District of Columbia Chapter.
The presentation ceremony took place in 1976 at The Common and
included the singing of the best known piece by Billings and the most
popular war song composed by a native born citizen, CHESTER. It is ironic
that Billings was remembered not by a Boston musician's organization but
by an organist chapter from Washington. D.C.On November 7, 1986 (exactly 200 years after it was organized),
Roger Hall, Historian and Bicentennial Chairman of
the Old Stoughton Musical Society,
was a guest along with William Billings biographer, David McKay,
on the popular classical radio program, "Morning Pro Musica," on WGBH-FM
in Boston and hosted by Robert J. Lurtsema. There were several Billings
tunes played and a portion of this radio program is available on
Best of William Billings (AMRC CD 0001)
To see the music titles on this CD -- click hereTen years later, in 1996, Roger Hall wrote a newspaper article about the
250th anniversary of William Billings' birth.The article was about Billings in
Stoughton and the "sing" held in Boston.
Billings Bicentennial in Boston:
It was on a rain soaked Tuesday -- a day of mourning
for an unfairly neglected American composer.
On that day and evening a "sing" was held at King's Chapel (built in 1749)
at the corner of Tremont and School Streets in Boston. It was held on
September 26, the actual date when Billings died in 1800.In observance of the 200th anniversary of his death, an exuberant chorus
from points far and wide, including England, sang selected hymns and
anthems of William Billings. The singing was organized by Billings 2000
(Sheila Beardslee Bosworth, King's Chapel Tuesday Recitals;
Gina Balestracci and Roland Hutchinsonfrom Garden State Sacred Harp Singers).
A large volume of music was prepared by Roland Hutchinson.In typical Sacred Harp fashion, various singers offered to lead the
individual Billings pieces.Neely Bruce came with his group of Sacred Harp singers from Wesleyan
University in Middletown, Connecticut.Roger Hall, a musicologist and former conductor of the Old Stoughton
Musical Society Chorus, led two Billings tunes (STOUGHTON and MAJESTY),
plus an original canon titled, "Come Let Us Sing," which Hall had composed
with words from the last Billings tunebook of 1794.
In celebration of the 250th anniversary of the
Declaration of Independence (1776-2026):
The expanded 2nd edition of this book is now available
in two different formats:
ebook only::
Includes the William Billings family genealogy and facts and fiction about
Billings and The Stoughton Musical Society. It also includes concert
programs and other activities in Stoughton including the 1774 singing
school taught by William Billingas. Also these texts and tunes:
Anthem: THE PLEASURES OF VARIETY- text by Billings,
music: Roger Hall, 1980
Canon: COME LET US SING - text by Billings,
music: Roger Hall,1986
Fuging Tune: MAJESTY - music: William Billings, 1778
Hymn Tune: STOUGHTON - music: William Billings, 1770,
edited by Roger Hall, 1986
This tune has an 18th century text by Isaac Watts and it was premiered by
the Old Stoughton Musical Society during its Bicentennial Concert
on November 7, 1986.
multimedia collection:
"A Stoughton Musicfest"
A history of singing in early Stoughton, including a short play:
"William Billings Teaches A Singing School."
You can order "MAJESTY - William Billings and The Stoughton Musical Society"
with ebook, audio and video examples on DVD-ROM or USB at this webpage -- click here
The PDF book, MAJESTY, without audio and video filesis available exclusively here sent via Dropbox.
To order your copy of the ebook
for only $19.95, click the "Add to Cart" button.
After your have ordered your copy, for proper delivery
of the pdf book, send your email address to
See also this collection about the Massachusetts townof Stoughton, celebrating its 300th anniversary in 2026,
where William Billings taught a singing school in 1774which later resulted is what is now
the oldest surviving choral society in America:
"DEDICATION" - Singing in Stoughton, 1762-1992
From the American Music Recordings Collection:
AMRC CD 0001: Best of William Billings -
1. Canon: Thus Saith The High The Lofty One (1770)
2. MAJESTY (1778)+
3. CHESTER (1778 and 1786)
4. DAVID'S LAMENTATION (1778)
5. ANTHEM FOR THANKSGIVING (1794)
6. Interview with Roger Hall on WGBH-FM in Boston (1985)
7. MODERN MUSIC (1781)
8. STOUGHTON (1770)- edited by Roger Hall+
9. CLAREMONT (1794)
10. ANTHEM FROM SUNDRY SCRIPTURES+
11. ASSURANCE (1781)
12. EUROCLYDON (ANTHEM FOR MARINERS)(1781)
13. Interview on WGBH radio with Roger Hall and David P. McKay (1986)
14. CHARITY ANTHEM (1794)+
15. SHARON (1778) - edited by Roger Hall+
16. CRUCIFIXION (1786)+
17. THE PLEASURES OF VARIETY+ - music by Roger Hall, 1980, text by William Billings
18. DEDICATION+ - music by Roger Hall, 1986, text by William Billings
19. ANTHEM: O GOD MY HEART IS FIXED+
20. CHESTER (1786) - radio broadcast
21. Conversation with David McKay on WGBH-FM radio (1986)
+ = Premiere recordings = 10
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