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Jay Ungar and Molly Mason have been playing music together since 1978 and have become widely known for their work with Ken Burns and other public broadcasting favorites, Great Performances and Garrison Keillor’s "Prairie Home Companion."


Video Clip play 56play 220

Jay and Molly
Jay Ungar and Molly Mason discuss the writing of "Ashokan Farewell" and its emotional impact.
Ashokan Farewell play 20
Listen to an excerpt from this famous melody.

(c)1983 by Swinging Door Music (BMI)

© information
They also run Fiddle & Dance Workshop at Ashokan in upstate New York where, each summer, people come to learn traditional music and dance. Jay Ungar first wrote "Ashokan Farewell" at the conclusion of one of those summer workshops.

JAY UNGAR: "Ashokan Farewell" is a tune that I wrote unintentionally, really. It was a moment of deep emotion after the summer camps at Ashokan had ended. It was the third summer, and it was an experiment every summer, you know, pulling this together. And it had been such a deeply moving experience and the community of people and the feeling of unity that we had had through music, and being away from the regular world was so important to me that when I’d gotten home, I had a sense of loss and longing; and I was looking for a Scottish lament, you know, that would express how I felt. And I couldn’t think of one, so I just started playing, and this tune came out. And it brought me to tears. And every time I played the beginning of it, for months afterward, I was brought to tears.

So, it was difficult to play it for anyone. But after a while, our band Fiddle Fever started performing it, and we eventually recorded it.

MOLLY MASON: I think a lot of people are surprised that Jay wrote the tune, because they’re of the mind-set that it must have come from the nineteenth century.

JAY UNGAR: We were asked by Ken to come to Brattleboro, Vermont, and record music for The Civil War series, and this would be a lot of the traditional, period music. And as it turns out, a lot of that music was in our repertoire, as square dance musicians and string band musicians. And we spent a day [recording]. Pieces of sheet music were put in front of us – these would be the original arrangements – and then together with Ken, we created new arrangements to fit the various scenes that he described.

The way he worked at that point was he would sit in the middle of a group of musicians and describe a moment from an emotional point of view in the film, and we would try to express that through the tune that we were being asked to play. So, we would reinterpret these tunes, and it was really fun and an exciting day of music. And we just sat, and we went through tune after tune, playing in all different ensembles – you know, more instruments, less instruments, different feels, different moods, different emotions. And it was all just trying to get ideas.

But that actually became the final soundtrack, so it was spontaneous and heartfelt and in the moment. We didn’t have a chance to sit down and try to refine it, make it perfect. It’s a little raw and very honest, and I think that’s part of why it works.

MOLLY MASON: I remember one scene he wanted Jacqueline Schwab [the pianist] to do a solo piano version of "Battle Cry of Freedom" and so he described some of the photos that were going to be this scene. And he said, "This battle has just finished, and they are several photos of the dead, just lying, you know, as far as you can see – both sides." And he went on and described a little more.

So, Jacqueline nodded, and then played "Battle Cry of Freedom," about 60 seconds’ worth, all the way through the tune, very slowly and simply and sadly. And we were all sitting in the room, being quiet, you know, with our instruments. She got done, and we couldn’t speak and were all almost in tears, because with that explanation by Ken, followed by that musical version by Jacqueline, we were just devastated. It was really powerful.

JAY UNGAR: The first scenes that we saw [of the film] were at the end of our day of recording in Brattleboro. We went back to Ken’s house in Walpole, New Hampshire, and he showed us a trailer that used "Ashokan Farewell." It was the Fiddle Fever recording, and it was basically the opening 10 or 15 minutes of the film. And it was so powerful. We were deeply affected by it, and we all knew this film was going to affect America in a lot of important ways.

JAY UNGAR: One of the most powerful moments in The Civil War series for many people is the reading of Sullivan Ballou’s [link to the Ballou letter in Historical Documents] letter with "Ashokan Farewell" behind it. And when I first heard that I was just hit right inside. You know, Ken saw the connection and put those together, and it’s cosmic. A lot of people are very deeply moved by that.

And I remember Ken showing us the Sullivan Ballou letter. It was a tattered piece of paper – of course, not from a 150 years ago. It was one that Ken had typed out himself and been carrying in his wallet for probably 10 or 15 years. So, it was a letter that always meant a lot to him, and it means a lot to millions of people now.

JAY UNGAR: I guess I’ve played "Ashokan Farewell" hundreds or thousands of times. People wonder, you know, "How can you not tire of it, or still play it with feeling?" And I feel lucky that this is a tune that I’ve become known for, because I love it so much. And I receive letters every week, still, from people who have personal stories of how it’s affected them. So, for me – I might not play it for myself now -- but I know I’m playing it for somebody who cares about it out there; and that’s what makes it possible to continue playing it – and playing it like I mean it.

MOLLY MASON: And then there have been some surprising and funny reactions. We were at a large event in Cincinnati. There were several hundred people there, and there was a string quartet playing for the people. And we edged our way right up to the string quartet, and they played "Ashokan Farewell."

And when they finished, they took a break, and Jay went up to the first violinist. We all had nametags and he was about to speak to her when looked at his nametag. She started getting very nervous and sort of –

JAY UNGAR: She turned white as a sheet!

MOLLY MASON: Yeah, having a hard time breathing, it seemed. The tune "Ashokan Farewell" is out there in the world now. And we hear stories about it every now and then. Somebody will come back from Ireland and say, "Oh, I heard it in a pub in this little town in western Ireland!" You know, it just pops up. But it’s got a life of its own.

This is an edited transcript taken from an interview conducted for The Civil War DVD.

Ashokan Farewell by Jay Ungar
Performed by Fiddle Fever
(c)1983 by Swinging Door Music (BMI)

More information on Jay Ungar and Molly Mason is available at their Web site http://www.janandmolly.com.

Copyright 2002 WETA. All rights reserved.