The American Mozart: Composer Timothy Olmsted

A detail of "The Flute-Player," 19th century, by Jean Louis Ernest Meissonier. Public Domain

During his lifetime, musician Timothy Olmsted (1759–1848) was a bandsman in the Continental Army, a composer of sacred music, a teacher, and a published author. His breadth of work and professional accomplishments helped give the fledgling country its own unique musical identity.

Through an exploration of his published works, we gain insight into the man responsible for so many of America’s earliest treasured songs and come to understand why his fans once honored him publicly with the impressive nickname, “Mozart of America.”

The Lexington Alarm

"Heroes of '76,' Marching to the Fight," 1876, published by Currier & Ives. Library of Congress. Public Domain

In 1775, America’s first Revolutionary campaign took place with the Battles of Lexington and Concord. As troops gathered and made their way to Massachusetts to fight the British, the 15-year-old Olmsted joined up with the E. Hartford Company as a fifer in the Continental Army.

Like many other young men, he signed up for service after an alarm letter was sent out to New England colonies asking for help fighting the British. Whether he and his fellow patriots were on the battlefield or at camp, Olmstead’s melodies played on his fife (a woodwind instrument like the flute) regulated the troops’ steps, told them when dinner was ready, and when it was time to fight again.

Musicians’ skills were a core part of the Continental Army’s success during America’s War for Independence. Olmstead, given his exceptional fifing skills, was quickly promoted to fife major. This honor was bestowed only to the best musicians capable of overseeing the other fifers and drummers within their respective regiments. At 16 years old, he had several fellow musicians under his command.

Olmstead was present for some of the Revolutionary War’s most important moments including the Lexington Alarm and the Battle of White Plains. He also served during the War of 1812.

An illustrated plate of "The Flute-Player," 19th century, by Jean Louis Ernest Meissonier from "Meissonier: His Life and His Art," 1897, by Vallery C.O. Gréard. Internet Archive. Public Domain

His extensive military experience was influential to his music. After his time in the army, he worked on several musical pieces with a military theme. One of those songs, “Columbia,” is listed in one of his manuscripts housed at the Connecticut Historical Society as “an ode sung at the general election in Hartford, 1792.”

He also published a collection of military-themed music titled, “Martial Music.” The collection features some of his original compositions, and many of the Continental Army’s beloved battle songs. In the years after the Revolutionary War, several music books with military themes were published, but Olmsted’s was the preferred choice. An article by Early Music America details why his unique perspective helped fuel the popularity of his “Martial Music”:

“[W]hat sets Olmsted’s work apart is that its author had actual experience as a bandsman in the Continental Army. Because of this, “Martial Music” is the only direct source that offers firsthand insight into what pieces belonged to the repertoire of American military bands during the War for Independence.”

Olmsted’s years spent as an army fifer and his love of military-style music remain a defining part of his overall repertoire. While he had success with patriotic numbers like “Columbia,” military compositions were only one of the genres he enjoyed composing.

His enduring faith was also a central theme in much of the music he created.

A Composer’s Passionate Wish

Table of contents from the 1805 publication of "The Musical Olio," by Timothy Olmsted. Internet Archive. Public Domain

After his time in the service, Olmsted became a music teacher. Although he taught six days a week, he worked on various manuscripts in his downtime. One of those manuscripts, “The Musical Olio,” became his most influential published collection. The book, still available for purchase today, features vocal lessons, original hymns, and selected sacred works from European composers.

Through composing sacred hymns and collecting notable works for publication, Olmsted wished to further unite congregations with the power of song. In the foreword to “The Musical Olio,” he stated, “That this small volume may prove to be useful in the Church, and entertaining in the Chamber, is the ardent wish of The Compiler.”

The foreword to "The Musical Olio," 1805, by Timothy Olmstead. Internet Archive. Public Domain

One reason for the popularity of “The Musical Olio” was its commitment to one of the country’s earliest cultural traditions— the singing of psalms.

Early Music America expanded on this point in their article, stating:

“In these works Olmsted demonstrates a desire to connect himself with the wider musical world, and notably to encourage instrumental music making. … Contributing to ‘The Musical Olios’ popularity is undoubtedly the fact that these works are part of a tradition of published American psalmody that goes back to the mid-18th century.”

Giving a Listening Ear

"Eve of the Feast (A Lesson in Choir Singing)," 19th century, by Mosè Bianchi. Oil on canvas. Reading Public Museum. Public Domain

After publishing “Martial Music” and “The Musical Olio,” he was given performance opportunities. In the 1820s, Olmsted performed several times, leading bands and choirs with shows that left audiences in awe.

In 1822, he performed sacred music for the Jubal Society of Hartford, a Christian organization promoting arts in the community. In 1823, he performed two more times and garnered rave reviews. One concertgoer spoke of Olmsted’s musical excellence by saying, “We think the performance was never equalled in this state.”

Another review in the Hartford Courant said, “We hope this musical choir will continue their exertions to improve the public judgment and taste in this delightful science. A very numerous audience expressed their satisfaction, by their silence and giving a listening ear.”

Music of The New American Nation

An engraving of a man writing in a book with an angel looking over his shoulder, 17h century, by an artist after Guido Reni. The Metropolitan Museum of Art, New York City. Public Domain

After a lifetime dedicated to the creation and collection of music, Olmsted passed away in August of 1848. However, his music continued to impact New Englanders and those residing in his native Connecticut.

In 1854, a group of Hartford, Connecticut residents wrote a letter to the Hartford Courant newspaper with high praise for one of their favorite musicians. In the letter, they declared that Olmsted was the “Mozart of America.”

Long after his death, his compositions continued to impact the American musical landscape he helped build. In 1999, a book was released by Routledge Media Company in Olmsted’s honor titled, “The Collected Works of Eliakim Doolittle (1772–1850) and Timothy Olmsted (1759–1848).” The book features 79 sacred songs by the two Connecticut-born composers. While Doolittle’s music was more family-oriented, fun, and casual, Olmsted’s was geared more towards artistic skill and creating an emotional connection among listeners. The description of the book states Olmsted “wrote psalm tunes in a … sophisticated, florid musical style.”

The “Collected Works,” subtitled “Music of The New American Nation,” offers a comprehensive view of the composer’s songs, and highlights the magnificent output of work Olmsted released over his professional career.

A loyal fifer in George Washington’s Continental Army, a passionate composer, and a man of great faith and devotion to his country, Olmsted’s many accomplishments tell a remarkable American story. His wide scope of work and beautiful hymns reveal why a group of dedicated fans felt strongly enough to write their local newspaper and declare their New England composer, the “Mozart of America.”

Would you like to see other kinds of arts and culture articles? Please email us your story ideas or feedback at [email protected]