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"Hearts and Flowers" (subtitle: "A New Flower Song") is a song composed by Theodore Moses-Tobani (with words by Mary D. Brine) and published in 1893 by Carl Fischer Music. The famous melody is taken from the introductory 2/4 section of "Wintermärchen" Waltzes Op. 366 (1891) by the Hungarian composer Alphons Czibulka.
Hearts & Flowers was an American, Los Angeles-based folk rock club band, perhaps most significant as one of the groups that launched the career of Eagles' founding member and guitarist-songwriter, Bernie Leadon. [1] The line-up included Larry Murray (vocals, guitar), Dave Dawson (vocals, guitar, autoharp), and Rick Cunha (vocals, guitar). [2]
His best known composition was "Hearts and Flowers", which he composed in half an hour in 1893, and which continued to sell more than 100,000 copies annually until the end of his life. He was so prolific that his publisher, Carl Fischer , insisted that he use multiple pseudonyms; Fischer was concerned that nobody would believe how much Tobani ...
In the late 1920s and early 1930s, Coward wrote a succession of hits, ranging from the operetta Bitter Sweet (1929) and the epic Cavalcade (1931), requiring a large cast, gargantuan sets and a complex hydraulic stage, to the intimate comedies Private Lives (1930), in which Coward starred alongside Gertrude Lawrence, and Design for Living (1932). [1]
In the late 1920s and early 1930s, Coward wrote a succession of hits, ranging from the operetta Bitter Sweet (1929) and the epic Cavalcade (1931), requiring a large cast, gargantuan sets and a complex hydraulic stage, to the intimate comedies Private Lives (1930), in which Coward starred alongside Gertrude Lawrence, and Design for Living (1932). [5]
The soon-forgotten song was re-issued as a stand-alone instrumental under the same title as the song. "Hearts and Flowers" is the sentimental piece that has been frequently used to indicate mock tragedy in film and cartoon soundtracks. [1] Czibulka wrote over 300 works, especially Viennese-style dance music and marches.
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There are conflicting explanations regarding the origins of the term "Tin Pan Alley". The most popular account holds that it was originally a derogatory reference made by Monroe H. Rosenfeld in the New York Herald to the collective sound made by many "cheap upright pianos" all playing different tunes being reminiscent of the banging of tin pans in an alleyway.