O Land Of Mine, America for Orchestra and optional Chorus Cover Image

O Land Of Mine, America for Orchestra and optional Chorus: Full Orchestra, Conductor Score & Parts

$90.00 USD
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O Land Of Mine, America for Orchestra and optional Chorus Cover Image

O Land Of Mine, America for Orchestra and optional Chorus: Full Orchestra, Conductor Score & Parts

By George Gershwin, ed./arr. by Mike Lewis/ Text by Michael E. Rourke (pen name Herbert Reynolds)

Item: 36-A860190

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Description
George Gerswhin (1898-1937) teamed up with Tin Pan Alley lyricist Michael E. Rourke (pen name Herbert Reynolds) in a 1919 competition to compose a national anthem for the United States of America, which did not have an official anthem at that time. The pair published the rousing march, titled O Land of Mine, America, anonymously with an eye to appeal directly to the most famous of the five judges, John Philip Sousa. They did not win the $5000 prize, instead earning an honorable mention and $50, which the two split between them. This version for orchestra and optional chorus has been arranged by Mike Lewis. Instrumentation: 3.2.2+BCl.2: 4.3.3.1: Timp.Perc(2): Str (9-8-7-6-5 in set): Mixed Chorus (opt.; available separately).

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Additional Details
Series: Kalmus Symphonic Pops
Publisher: Keiser Productions, Inc.
UPC: 659359840357
SKU: 36-A860190
Instrumentation: 3.2.2+BCl.2: 4.3.3.1: Timp.Perc(2): Str (9-8-7-6-5 in set): Mixed Chorus (opt.; available separately)

More about this title

About the Composer: George Gershwin

George Gershwin (1898, 1937) bridged classical training and popular music with a fluency few American composers have matched. He studied composition formally while building a parallel career as a songwriter for Broadway and Tin Pan Alley, absorbing both traditions so completely that they became inseparable in his voice.

Gershwin's orchestral works, from Rhapsody in Blue to An American in Paris, shaped how American concert music sounds. His ability to write for both classical ensembles and popular settings made him invaluable to music theater and film. He died at 38, but his output remains a model for composers seeking to honor popular idioms without sacrificing craft.

Why we love this

A 1919 national anthem competition entry that actually has personality and dramatic sweep, unlike most patriotic pieces that settle for sentiment over substance. Gershwin and Herbert Reynolds built a march with real melodic ideas and harmonic interest, so your orchestra will engage with the writing rather than just muscle through something dutiful. The optional chorus adds flexibility for concert programming without requiring it.

What to expect

Rousing and deliberate, built on march rhythms that snap with military bearing yet colored by Gershwin's harmonic warmth. The writing breathes confidence; there's no apology in it, just forward momentum and the kind of orchestration that lets every section shine.

Who it's for

Orchestras and bands looking for a concert opener that lands with conviction and carries historical weight without sounding academic. Works equally well for programs celebrating American music or for conductors wanting a showpiece that teaches ensemble precision and style.

How to get the most out of it

  • Balance the brass articulation in the opening; the march's punch depends on crisp tonguing that cuts without blurring the melody in the winds.
  • If you use the chorus, rehearse the orchestral cues with singers early, since the accompaniment figures shift character between instrumental sections.
  • Weight the string section toward clarity in the middle voices where the harmonic counterpoint sits; these aren't background parts.

How to use it

Open a patriotic concert or American music showcase with this. Its moderate length and immediate appeal make it an ideal anchor for a program mixing classical standards with popular Americana, and the competition history offers natural program notes.

Skills your students will build

  • Idiomatic march style articulation and phrasing
  • Ensemble balance in multi-layered harmonic textures
  • Sectional independence while maintaining forward momentum
  • Brass and woodwind interplay in a formal orchestral setting

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