NOW IS THE HOUR Maori Farewell Song MAEWA KAIHAN Clement Scott DOROTHY STEWART !

ITEM 1.) Maewa Kaihan, Clement Scott, Dorothy Stewart; NOW IS THE HOUR (Maori Farewell Song); Song Folio Sheet Music; Piano / Voice / Guitar / Ukulele; Complete Sheet Music; 1946; Leeds Music Corporation #????;

Small Format;

English throughout;

Front Cover Artwork featuring text;

Vocal Edition - Key of F (C - Bb);

Inside Front Cover is first page of music;

No Title Page or Table of Contents;

Now is the Hour (Maori Farewell Song); Words and Music by Maewa Kaihan, Clement Scott and Dorothy Stewart;

Treble (Voice and Piano) and Bass (Piano) Clef;

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1 Tune Total;

2 Pages of Music; With Lyrics;

Inside Rear Cover is last page of music;

Rear Cover has ad for "Hits of Our Times Series";

Folded Panel Format;

Published by Leeds Music Corporation; New York, New York; Copyright 1913, 1946;

Condition Very Good for age and the fact that it was "on display" for some time; Covers Show Storage Wear; Pages Clean, Tight and Unmarked, but Discolored from Age;

The primary item was part of the collection of Henry J. Hauschild Jr., who billed himself as a “Physiognomist – Bibliopolist – Cognoscente di Eccellentissimo”, and was the very proud owner of the world famous "Nose Gallery” at “The Oldest House” in Victoria, Texas. Henry Senior founded the Hauschild Music Company which was later owned by his 8 children and eventually the four brothers before being closed in 1980; After the Opera House Restaurant failed, the space became the Bible Book Store and later Opera House Antiques; This item was mixed with the leftover inventory of the Music Store and at one time was on consignment at the Bible Book Store;

"Musicologist and historian, Delmer Rogers, longtime member of the staff of the Department of Music at the University of Texas, is of the opinion that the Hauschild Music Company, founded in Victoria, Texas in 1891, was the second oldest institution to commercially publish sheet music in Texas. (Thos. Goggan of Houston being the first.) Also, his extensive research indicates that Hauschild's was the first in Texas to issues music with Spanish titles. About thirty were published, many by talented writers, and sold in large numbers. In addition, probing seems to prove that Hauschilds was the first to publish the efforts of several of the music-loving Germans of the area. Most interesting, too, is that the spritely composition, the Cowboy Rag offered in 1904 possibly was the purcursor of this genre of popular music." taken from "The Cognoscenti Collections";

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HISTORICAL NOTE: ""Now Is the Hour" is a popular song, though often described as a traditional Māori song. It is usually credited to Clement Scott, Maewa Kaihau & Dorothy Stewart.

Maori words:

Po atarau

E moea iho nei.......

English words:

Now is the hour,

when we must say goodbye......

It 1st became known in 1913 when it was published by W.H. Paling & Co as a piano-variations piece in Australia, called Swiss Cradle Song and credited to an Australian, Clement Scott. The piece consisted of eight variations to the main 16-bar theme. Palings sold 130,000 copies of Swiss Cradle Song. Māori words were added around 1915 & the tune was slightly changed. It became known as Po Atarau & was used a farewell to Māori soldiers going to the First World War. This has led some people to believe it was a traditional Māori folk-song. One claim attributes the 1st words to two Māori groups of sheep shearers, the Grace & Awatere families, of Tuparoa. In 1920 Maewa Kaihau wrote an opening verse in English as "This is the hour.." for her daughter who had become attached to a member of a visiting royal party, who was shortly to leave. She also modified the Po Atarau tune & added another Māori translation. When it became popular, Maewa Kaihau claimed the words & tune as her own work, but then Palings asserted their copyright for the tune. Nevertheless Maewa Kaihau's words were copyrighted in 1928. However Dick Grace has since claimed the words as the work of his family. In 1935 Kaihau modified the Po Atarau version again to become the Haere Ra Waltz Song, which was performed as the last waltz at dances & farewells. The song was 1st recorded by Ana Hato in 1927 with minor variations in the lyrics. English singer, Gracie Fields, learnt Haere Ra on a visit to New Zealand in 1945 in Rotorua. While travelling in her car, her driver taught her a version of it & it became a world-wide hit in 1948. Fields' manager, Dorothy Stewart, is credited with amending to the opening line to Now is the Hour, & with adding another verse. Other recordings of the song were made by Bing Crosby, Frank Sinatra, Eddy Howard, Kate Smith, & Gale Storm. [Hayley Westenra the soprano from New Zealand] The identity of Clement Scott has also been subject to debate. In 1948, a widow claimed that her husband, Albert Saunders, an employee of Palings, used the pseudonym, 'Clement Scott', & had written the Swiss Cradle Song in 1906. She said he had sold the tune to Palings. The manager, however, of Palings was still living & denied this, saying that Clement Scott was still alive. The matter is one of some confusion & contention; see the article on English drama critic Clement Scott. The tune, commonly named MAORI in hymnals, is also used with the lyrics "Search Me, O God" by J. Edwin Orr.";

HISTORICAL NOTE: "Clement Scott (6 Oct. 1841–1904) was an influential English theatre critic for the Daily Telegraph, & a playwright and travel writer, in the final decades of the 19th century. His style of criticism - acerbic, flowery, & (perhaps most importantly) carried out on the 1st night of productions, set the standard for theatre reviewers through to today. Born the son of William Scott, the vicar of Hoxton in north London, Clement William Scott converted to Roman Catholicism before his 21st birthday. Educated at Marlborough College, he became a civil servant, working in the War Office beginning in 1860. Encouraged to write by the humorist Tom Hood the younger, who also was a clerk in the War Office, Scott contributed to Era, Weekly Dispatch, & to Hood's own paper, Fun, where Scott & W. S. Gilbert were colleagues. Scott's interest in writing & the theatre led him to brief dalliance with the failed Victoria Review. He became the dramatic writer for The Sunday Times in 1863 but held the position for only two years because of the intemperance of his published opinions & his unpopular praise of the French theatre. In 1871, Scott began his nearly thirty years as a theatre critic with The Daily Telegraph. He also contributed regularly to Theatre magazine & wrote sentimental poetry & song lyrics (including "Oh Promise Me"), which were often published in the magazine Punch by his friend, the editor, F. C. Burnand. Scott continued to work at the War Office until 1879, when he finally decided to earn his living entirely by writing. As well as criticism, Scott wrote plays, including The Vicarage, The Cape Mail, Anne Mié, Odette, & The Great Divorce Case. He wrote several English adaptations of Victorien Sardou's plays, some of which were written in collaboration with B. C. Stephenson, such as Nos intimes (as Peril) & Dora (1878, as Diplomacy). The latter was described by the theatrical paper The Era as "the great dramatic hit of the season". It also played with success at Wallack's Theatre in New York. Scott & Stephenson also wrote an English version of Halévy & Meilhac's libretto for Lecocq's operetta Le Petit Duc (1878). Their adaptation so pleased the composer that he volunteered to write some new music for the English production. For all of these, Scott adopted the pen name "Saville Rowe" (after Savile Row) to match Stephenson's pseudonym, "Bolton Rowe", another Mayfair street. The pieces with Stephenson were produced by the Bancrofts, the producers of T. W. Robertson's plays, which Scott admired. He also wrote accounts of holiday tours around the British Isles & abroad, becoming known for his florid style. Scott's travels also inspired his creative writing. After a tour of New Zealand, he wrote "Now Is the Hour" (Haere Ra) known as the Māori farewell song, based on a traditional New Zealand melody, which is also used as the tune for the hymn "Search Me, O God" with lyrics by J. Edwin Orr. In 1883, the Daily Telegraph printed an article which Scott had written about a visit to the north Norfolk coast. He became enamoured of the district & gave it the name Poppyland. His writing was responsible for members of the London theatre set visiting & investing in homes in the area. It is there that he is perhaps best remembered, but ironically, he was unhappy at the result of his popularization of this previously pristine area. Scott married Isobel du Maurier, & the couple had four children. Du Maurier died in 1890, & he remarried Margarite Brandon, a journalist, in San Francisco. Scott's long-time wish to be elected a member of the famous literary gentlemen's club, the Garrick Club (to which Henry Irving, Gilbert & Arthur Sullivan, among many other notable men belonged), was finally realized in 1892. Scott worked for a couple of years at the end of the century for the New York Herald, later returning to London. In 1900, he founded The Free Lance, a Popular Society & Critical Journal, for writers who worked by the job, which he edited. Scott died in Norfolk at the age of 62. Scott's position on the Daily Telegraph & the support of its proprietor, J. M. Levy, allowed him to pioneer the essay-style review of drama, which came to replace the earlier bare notices. His column of notes & reviews became very popular throughout Britain, & later his own magazine, Theatre, achieved wide circulation. His method of writing theatre reviews involved writing his impressions as soon as he had seen the piece, & publishing them without revision. This habit, together with his hasty temper & his dislike of the movement of critic William Archer, the chief English supporter of Ibsen, combined to involve him in frequent & prolonged controversy. Scott especially became embroiled in legal claims through his outspoken criticism of various actors & actresses. Early in his career, he wrote approvingly of the "cup & saucer" realism movement, led by T. W. Robertson, whose plays were notable for treating contemporary British subjects in realistic settings. Later, he favoured the grand & spectacular type of London theatrical production which had developed with new types of theatre building, electric lighting & technologies allowed more & more adventurous staging. As time went on, he became strongly conservative & opposed to the new drama of Ibsen & Shaw, arguing that domestic intrigue, sexual situations & wordy philosophising were inappropriate for an evening at the theatre, & even harmful to society, especially young women. The verdict of history has been that Scott was wrong. Scott played an important part in encouraging a more attentive attitude by theatre audiences. In his early days, it was not uncommon for audiences to be very boisterous & noisy, frequently booing & talking during productions, especially through the overture. He also insisted on 1st night reviews. It had been common for reviewers to wait a few days before writing about a production. Scott insisted that the paying audience on the 1st night should expect to see a fully fledged production, & not one where the leading characters did not know all their lines. He also supported actor-managers of his time by providing them with translations of popular French plays & with his own plays. His papers are located in the library of Rochester University, New York State. Film maker John Madden (Shakespeare in Love, Mrs. Brown, Captain Corelli's Mandolin) made his 1st feature film for the BBC around the story of Scott's visit to Poppyland.";

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