[INSTRUMENTAL MUSIC] [APPLAUSE] Charles K. L. Davis  Capturing the essence of multi-faceted Hawaiian culture and the lively spirit of Hawaiʻi's people.

Mele Hawaiʻi is Hawaiʻi's music in all of its many dimensions of sound.

If Henri Berger were here today, Mele Hawaiʻi would have a very personal and special meaning.

To Berger, who was formerly the Royal Hawaiian bandleader for 43 years and is called the father of Hawaiian music, Mele Hawaiʻi was his first published series of sheet music with songs either composed or arranged by the great music master himself.

Henri Berger has gone down in the annals of Hawaiʻi's music history as a man who gave Hawaiʻi its own musical identity, a national identity which extended far beyond the islands of the Pacific.

In an editorial following his death, the San Francisco Chronicle said, and I quote, “if he did not actually invent Hawaiian music as we know it today, it was his genius that organized and preserved it,” end of quote.

The story of Hawaiʻi’s music is therefore forever linked, both to the life of the dynamic Henri Berger and to the Royal Hawaiian Band, which under his direction, became the powerful force in shaping the form of music that is today a part of our island heritage.

It's this music that went forth as Hawai‘i's own, such as The Kohala March, later called Maika‘i Kamakani O Kohala.

[INSTRUMENTAL MUSIC] Charles K. L. Davis  Henri Berger was brought to Hawaiʻi from Germany in 1872 by King Kamehameha V. An instant success from the first day he landed, Berger and the band eventually became prominent in all musical functions here at ‘Iolani Palace, which was built during the reign of King David Kalākaua.

Band concerts here, as well as throughout the community at large, became traditional events enjoyed by everyone.

The music at these concerts always included both classical and Hawaiian selections.

For as Berger once said quote, “believing, as I do, that recreation is one of the most important factors in human life, and believing that music is one of the most helpful and enjoyable of human recreations, I cannot help raising my voice to ask Honolulu to try and secure the best music for the greatest number of people,” end quote.

Today's Royal Hawaiian Band, under the direction of band master Kenneth Kawashima, follows the high musical standard set by Berger in 1872 as they play Kuʻu Pua I Paoakalani, a composition written by Queen Lili‘uokalani while she was imprisoned in her bedroom here at ‘Iolani Palace during the overthrow of the monarchy.

A close friend of Berger's, she had learned a great deal about music from him, and it was she who respectfully named Berger the father of Hawaiian music.

Sung today by George Ho‘okano, a band member for 46 years, and danced by graceful Maile Webster, Paoakalani tells of the sweet, never fading flower that bloomed in the Queen's former residence in Waikīkī.

[singing Kuʻu Pua I Paoakalani] E ka gentle breeze a pa mai nei Hoʻohāliʻaliʻa mai ana iaʻu E kuʻu sweet never fading flower I pua i ka   uka o Paoakalani ʻIke mau i ka nani o nā pua O ka uka o Uluhaimalama ʻAʻole naʻe hoʻi e like Me kuʻu pua i ka laʻi o Paoakalani Charles K. L. Davis  When Queen Lili‘uokalani called Henri Berger the father of Hawaiian music, she bestowed upon him an honor which took into account his numerous musical contributions, such as teaching the Hawaiians how to play European instruments.

One of his greatest contributions was preserving for posterity, many of the native tunes which would have been lost had they not been written down by Berger for the band to include in their ever growing repertoire of music.

Berger's genius never stopped.

It went on to include making innovations in the performance of music itself.

It was he that created from within the band a group of singers who could perform songs of their island heritage, and he broke existing brass band tradition by hiring female singers as performers with the band.

Dating back to 1873 with Nani Alapa‘i, this tradition continues by spotlighting some of Hawaiʻi's finest female vocalists, such as lovely Marlene Naho‘opi‘i.

[singing Ahi Wela]  ʻElua nō māua I ʻike ia hana Laʻi wale ke kaunu Hoʻonipo i ka poli Ahi wela mai nei loko I ka hana a ke aloha E lalawe nei kuʻu kino Konikoni lua i ka puʻuwai ʻElua nō māua I ʻike ia hana Laʻi wale ke kaunu Hoʻonipo i ka poli Ahi wela mai nei loko I ka hana a ke aloha E lalawe nei kuʻu kino Konikoni lua i ka puʻuwai [APPLAUSE] Charles K. L. Davis  Be it day or night, Berger's influence upon Hawaiʻi's music was continual.

He taught the band European style dance tempos, the waltz, minuet, polka and the schottische, all of which were played at gala evening events, court balls and royal parties.

As the band learned to play European music, in turn gifted young composers, many of whom were band members themselves, began to apply the new tempos to Hawaiian music.

One such composer was Mekia Kealakai, who later became the leader of the Royal Hawaiian Band.

Kealakai’s Waialae is a Spanish style waltz, while Loa‘a Ko Puni Kauoha is in the schottische rhythm.

Performing these numbers as they might have danced during the balmy evenings at past royal parties here at Iolani Palace are the Eleu Dancers, and accompanying them is the Royal Hawaiian band Glee Club, as they would have sounded during the days of Berger.

[INSTRUMENTAL MUSIC] Charles   K. L.   Davis  Because one of Berger's favorite compositions, written by King Kalākaua and arranged by Berger, was Sweet Lei Lehua, he named his youngest daughter after this song.

Sweet Lei Lehua, with the beautiful voice of Yvonne Perry, is dedicated to Mrs.

Leilehua Billam Walker.

[singing Sweet Lei Lehua] …E naʻe iki nei Hanu mālie nahenahe Sweet lei lehua Be true to me, fair one Be true to me I entreat Give me the hand I want Sweet lei lehua [APPLAUSE] Charles K. L. Davis  The father of six, Berger loved children, often spending much of his time teaching them how to read and write music as well as how to sing.

He enjoyed watching children perform, always encouraging them to do their best.

If Berger were still alive today and attending a concert at Iolani Palace, he would be absolutely thrilled at watching the keiki chorus from Pope Elementary School, youngsters between the age of seven and ten, as they do a spirited rendition of David Nape's Tomi Tomi, which tells all about the hala trees of Naue in Hā‘ena, Kaua‘i.

[singing Tomi Tomi] Nani wale nā hala, tomi tomi O Naue i ka kai, tomi tomi Nani wale nā hala, tomi tomi O Naue i ka kai, tomi tomi Tomi tomi Tomi tomi Ke ʻoni aʻe la, tomi tomi Pili mai Haʻena, tomi tomi Haʻina ka inoa, tomi tomi ʻO Kaleleonālani, tomi tomi [APPLAUSE] Charles K. L. Davis  Not only would Berger have enjoyed watching the keiki chorus, but he today would be moved if he knew that so much of what he had started with the band has become undisputed tradition.

The band plays at Sunday concerts at numerous other public events, and they continue the tradition of giving band concerts for incoming and departing liners.

It was at the steamer concert, started by Berger, that island visitors became so familiar with both the lilting and upbeat sounds of Hawaiʻi.

One song that is still often played is Hilo March, originally called Keala Tuberose.

This song was written by Joseph Ae‘a and later changed by Berger to become one of Hawaiʻi’s most popular island marches.

[INSTRUMENTAL MUSIC] [HORN BLOWS] Charles K. L. Davis  A number of years have passed since the band first began in 1836.

There have been a total of 17 band leaders, including Berger and one can truthfully say that the Royal Hawaiian Band is Hawaiʻi's last living link to a colorful music past, as well as to the glorious period of the monarchy.

It was Henri Berger who helped build this link with the strength of his personality, dedication and creative musical genius.

Although Berger's contributions to establishing an identity for Hawaiʻi's music are innumerable to reign supreme, he wrote the arrangement for and introduced Aloha ‘Oe to the American public for the first time.

This was in 1883 during the band's trip to San Francisco to compete in the Knights of Templar brass band competitions, which they won.

And it was he who wrote the music for Hawaiʻi's national anthem, Hawaiʻi Pono‘ī.

[singing Aloha ʻOe] Aloha ʻoe, aloha ʻoe E ke onaona noho i ka lipo One fond embrace, A hoʻi aʻe au Until we meet again [singing Hawaiʻi Ponoʻī] Hawaiʻi ponoʻī Nānā i kou mōʻī Ka lani aliʻi, Ke aliʻi Makua lani ē, Kamehameha ē, Na kaua e pale, Me ka ihe Makua lani ē, Kamehameha ē, Na kaua e pale, Me ka ihe Charles K. L. Davis  The Royal Hawaiian Band formed in 1836, a living force in Hawaiʻi's musical history.

Captain Henri Berger, Royal Hawaiian Band leader for 43 years, a singularly powerful force which helped shape the destiny of this band.

He composed or arranged more than 1000 songs, among which included 275 Hawaiian numbers.

Born August 4, 1844 in Berlin, Germany, died in October 14, 1929 in Honolulu, Henri Berger, a man whose genius helped give Hawaiian music its own national identity.

[singing Koni Ai I Ka Wai] Koni au, koni au i ka wai, Koni au i ka wai huʻihuʻi I ka wai aliʻi, ʻo ke kini lā ʻOlu ai ka nohona o ka laʻi [INSTRUMENTAL MUSIC] Koni au, koni au i ka wai, Koni au i ka wai huʻihuʻi I ka wai aliʻi, ʻo ke kini lā ʻOlu ai ka nohona o ka laʻi [INSTRUMENTAL MUSIC] Koni au, koni au i ka wai, Koni au i ka wai huʻihuʻi I ka wai aliʻi, ʻo ke kini lā ʻOlu ai ka nohona o ka laʻi [END]