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+Project Gutenberg's Contemporary American Composers, by Rupert Hughes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Contemporary American Composers
+       Being a Study of the Music of This Country, Its Present
+       Conditions and Its Future, with Critical Estimates and
+       Biographies of the Principal Living Composers; and an
+       Abundance of Portraits, Fac-simile Musical Autographs, and
+       Compositions
+
+Author: Rupert Hughes
+
+Release Date: December 10, 2007 [EBook #23800]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS ***
+
+
+
+
+Produced by David Newman, Jeffrey Johnson, Suzanne Lybarger,
+Linda Cantoni, and the Online Distributed Proofreading
+Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Notes: Printer errors have been corrected. Full-page
+illustrations have been moved so as not to interrupt the flow of the
+text.]
+
+
+
+
+CONTEMPORARY
+AMERICAN COMPOSERS
+
+BEING A STUDY OF THE MUSIC OF THIS
+COUNTRY, ITS PRESENT CONDITIONS AND ITS
+FUTURE, WITH CRITICAL ESTIMATES AND
+BIOGRAPHIES OF THE PRINCIPAL LIVING
+COMPOSERS; AND AN ABUNDANCE OF PORTRAITS,
+FAC-SIMILE MUSICAL AUTOGRAPHS,
+AND COMPOSITIONS
+
+
+By
+
+Rupert Hughes, M.A.
+
+
+_ILLUSTRATED_
+
+
+Boston
+L.C. Page and Company
+(Incorporated)
+1900
+
+_Copyright, 1900_
+BY L.C. PAGE & COMPANY
+(INCORPORATED)
+
+_All rights reserved_
+
+Colonial Press
+Electrotyped and Printed by C.H. Simonds & Co.
+Boston, U.S.A.
+
+
+
+
+TO
+
+James Huneker
+
+MUSICIAN TO THE TIP OF HIS PEN
+
+
+
+
+FOREWORD.
+
+
+One day there came into Robert Schumann's ken the work of a young
+fellow named Brahms, and the master cried aloud in the wilderness,
+"Behold, the new Messiah of music!" Many have refused to accept Brahms
+at this rating, and I confess to being one of the unregenerate, but
+the spirit that kept Schumann's heart open to the appeal of any
+stranger, that led him into instant enthusiasms of which he was
+neither afraid nor ashamed, enthusiasms in which the whole world has
+generally followed his leading--that spirit it is that proves his true
+musicianship, and makes him a place forever among the great critics
+of music,--a small, small crowd they are, too.
+
+It is inevitable that a pioneer like Schumann should make many
+mistakes, but he escaped the one great fatal mistake of those who are
+not open to conviction, nor alert for new beauty and fresh truth, who
+are willing to take art to their affections or respect only when it
+has lost its bloom and has been duly appraised and ticketed by other
+generations or foreign scholars. And yet, even worse than this
+languorous inanition is the active policy of those who despise
+everything contemporary or native, and substitute sciolism for
+catholicity, contempt for analysis.
+
+While the greater part of the world has stayed aloof, the problem of a
+national American music has been solving itself. Aside from
+occasional attentions evoked by chance performances, it may be said in
+general that the growth of our music has been unloved and unheeded by
+anybody except a few plodding composers, their wives, and a retainer
+or two. The only thing that inclines me to invade the privacy of the
+American composer and publish his secrets, is my hearty belief, lo,
+these many years! that some of the best music in the world is being
+written here at home, and that it only needs the light to win its meed
+of praise.
+
+Owing to the scarcity of printed matter relating to native composers,
+and the utter incompleteness and bias of what exists, I have based
+this book almost altogether on my own research. I studied the
+catalogues of all the respectable music publishers, and selected such
+composers as seemed to have any serious intentions. When I heard of a
+composer whose work, though earnest, had not been able to find a
+publisher, I sought him out and read his manuscripts (a hideous task
+which might be substituted for the comparative pastime of breaking
+rocks, as punishment for misdemeanors). In every case I secured as
+many of each composer's works as could be had in print or in
+manuscript, and endeavored to digest them. Thousands of pieces of
+music, from short songs to operatic and orchestral scores, I studied
+with all available conscience. The fact that after going through at
+least a ton of American compositions, I am still an enthusiast, is
+surely a proof of some virtue in native music.
+
+A portion of the result of this study was published _au courant_ in a
+magazine, awakening so much attention that I have at length decided to
+yield to constant requests and publish the articles in more accessible
+form. The necessity for revising many of the opinions formed hastily
+and published immediately, the possibility now of taking the work of
+our musicians in some perspective, and the opportunity of bringing my
+information up to date, have meant so much revision, excision, and
+addition, that this book is really a new work.
+
+The biographical data have been furnished in practically every case by
+the composers themselves, and are, therefore, reliable in everything
+except possibly the date of birth. The critical opinions gain their
+possibly dogmatic tone rather from a desire for brevity than from any
+hope--or wish--that they should be swallowed whole. No attempt to set
+up a standard of comparative merit or precedence has been made, though
+it is inevitable that certain music-makers should interest one more
+than certain others even more worthy in the eyes of eminent judges.
+
+It may be that some inspectors of this book will complain of the
+omission of names they had expected to find here. Others will feel a
+sense of disproportion. To them there is no reply but a pathetic
+allusion to the inevitable incompleteness and asymmetry of all things
+human.
+
+Many will look with skepticism at the large number of composers I have
+thought worthy of inclusion. I can only say that the fact that an
+artist has created one work of high merit makes him a good composer in
+my opinion, whether or no he has ever written another, and whether or
+no he has afterward fallen into the sere and yellow school of trash.
+So Gray's fame is perennial,--one poem among many banalities.
+
+Besides, I do not concur in that most commonplace fallacy of
+criticism, the belief that not more than one genius is vouchsafed to
+any one period of an art, though this opinion can be justified, of
+course, by a very exclusive definition of the word genius. To the
+average mind, for instance, the whole literary achievement of the
+Elizabethan era is condensed into the name of Shakespeare.
+Contemporary with him, however, there were, of course, thirty or forty
+writers whose best works the scholar would be most unwilling to let
+die. There were, for instance, a dozen playwrights, like Jonson,
+Fletcher, Ford, Marlowe, and Greene, in whose works can be found
+literary and dramatic touches of the very highest order. There were
+poets less prolific than Spenser, and yet to be credited with a few
+works of the utmost beauty, minor geniuses like Ralegh, Sidney, Lodge,
+Shirley, Lyly, Wotton, Wither, John Donne, Bishop Hall, Drayton,
+Drummond, Herbert, Carew, Herrick, Breton, Allison, Byrd, Dowland,
+Campion--so one might run on without naming one man who had not
+written something the world was better for.
+
+All periods of great art activity are similarly marked by a large
+number of geniuses whose ability is not disproved, because
+overshadowed by the presence of some titanic contemporary. It would be
+a mere impertinence to state such an axiom of art as this, were it not
+the plain truth that almost all criticism of contemporaries is based
+upon an arrant neglect of it; and if it were not for the fact that I
+am about to string out a long, long list of American music-makers
+whose ability I think noteworthy,--a list whose length may lead many a
+wiseacre to pull a longer face.
+
+Parts of this book have been reprinted from _Godey's Magazine_, the
+_Century Magazine_, and the _Criterion_, to whose publishers I am
+indebted for permission. For the music reproduced here I have to
+thank the publishers whose copyrights were loaned for the occasion.
+
+If the book shall only succeed in arousing in some minds an interest
+or a curiosity that shall set them to the study of American music (as
+I have studied it, with infinite pleasure), then this fine white paper
+and this beautiful black ink will not have been wasted.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+
+FOREWORD                                                           vii
+
+A GENERAL SURVEY                                                    11
+
+THE INNOVATORS                                                      34
+
+THE ACADEMICS                                                      145
+
+THE COLONISTS                                                      267
+
+THE WOMEN COMPOSERS                                                423
+
+THE FOREIGN COMPOSERS                                              442
+
+POSTLUDE                                                           447
+
+INDEX                                                              449
+
+
+
+
+LIST OF MUSIC.
+
+
+                                                                  PAGE
+
+AUTOGRAPH OF EDWARD MACDOWELL                                       34
+
+"CLAIR DE LUNE," BY EDWARD MACDOWELL                                46
+
+AUTOGRAPH OF EDGAR STILLMAN KELLEY                                  58
+
+"ISRAFEL" (fragment), BY EDGAR STILLMAN KELLEY                      74
+
+AUTOGRAPH OF HARVEY WORTHINGTON LOOMIS                              77
+
+"SANDALPHON" (fragment), BY H.W. LOOMIS                             82
+
+AUTOGRAPH OF ETHELBERT NEVIN                                        93
+
+"HERBSTGEFÜHL" (fragment), BY ETHELBERT NEVIN                      102
+
+AUTOGRAPH OF JOHN PHILIP SOUSA                                     112
+
+A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA                     127
+
+AUTOGRAPH OF JOHN K. PAINE                                         145
+
+POSTLUDE TO "OEDIPUS TYRANNUS," BY JOHN K. PAINE                   158
+
+"SPRING'S AWAKENING" (fragment), BY DUDLEY BUCK                    172
+
+AUTOGRAPH OF HORATIO W. PARKER                                     174
+
+"NIGHT-PIECE TO JULIA" (fragment), BY HORATIO W. PARKER            180
+
+"DIE STUNDE SEI GESEGNET" (fragment), BY FRANK VAN DER STUCKEN     194
+
+"A LOVE SONG" (fragment), BY W.W. GILCHRIST                        205
+
+AUTOGRAPH OF G.W. CHADWICK                                         210
+
+"FOLK SONG" (NO. 1), BY G.W. CHADWICK                              216
+
+AUTOGRAPH OF ARTHUR FOOTE                                          221
+
+"IT WAS A LOVER AND HIS LASS," BY ARTHUR FOOTE                     230
+
+"IDYLLE" (fragment), BY ARTHUR WHITING                             287
+
+"BALLADE" (fragment), BY HOWARD BROCKWAY                           303
+
+AUTOGRAPH OF HARRY ROWE SHELLEY                                    304
+
+"SPRING" (fragment), BY GERRIT SMITH                               314
+
+"WHEN LOVE IS GONE," BY C.B. HAWLEY                                330
+
+"SONG FROM OMAR KHAYYÁM," BY VICTOR HARRIS                         339
+
+"HYMN OF PAN" (fragment), FRED FIELD BULLARD                       352
+
+"PEACE," BY HOMER A. NORRIS                                        362
+
+AUTOGRAPH OF G.W. MARSTON                                          367
+
+EXCERPT FROM AN ORCHESTRAL SCORE, BY F.G. GLEASON                  378
+
+"IDYLLE" (fragment), BY WILLIAM H. SHERWOOD                        385
+
+AUTOGRAPH OF WILSON G. SMITH                                       395
+
+"ARABESQUE," BY WILSON G. SMITH                                    404
+
+FRAGMENT OF THE SCORE OF "SALAMMBÔ," BY JOHANN H. BECK             408
+
+AUTOGRAPH OF JAMES H. ROGERS                                       412
+
+"BLACK RIDERS" (fragment), BY WILLIAM SCHUYLER                     416
+
+"PHANTOMS" (fragment), BY MRS. H.H.A. BEACH                        429
+
+"GHOSTS," BY MARGARET RUTHVEN LANG                                 436
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+
+Edward MacDowell                                        _Frontispiece_
+
+Edgar Stillman Kelley                                               57
+
+Harvey Worthington Loomis                                           77
+
+Ethelbert Nevin                                                     92
+
+John Philip Sousa                                                  112
+
+Henry Schoenefeld                                                  128
+
+John Knowles Paine                                                 145
+
+Horatio W. Parker                                                  174
+
+Frank van der Stucken                                              188
+
+George Whitefield Chadwick                                         210
+
+Arthur Foote                                                       221
+
+Henry K. Hadley                                                    241
+
+Adolph M. Foerster                                                 248
+
+Charles Crozat Converse                                            256
+
+Louis Adolphe Coerne                                               262
+
+Henry Holden Huss                                                  291
+
+Harry Rowe Shelley                                                 304
+
+Frederick Field Bullard                                            351
+
+Homer A. Norris                                                    357
+
+Frederic Grant Gleason                                             367
+
+William H. Sherwood                                                383
+
+A.J. Goodrich                                                      388
+
+Wilson G. Smith                                                    395
+
+Mrs. H.H.A. Beach                                                  426
+
+Margaret Ruthven Lang                                              432
+
+
+
+
+CONTEMPORARY AMERICAN COMPOSERS.
+
+
+
+
+CHAPTER I.
+
+A GENERAL SURVEY.
+
+
+Coddling is no longer the chief need of the American composer. While
+he still wants encouragement in his good tendencies,--much more
+encouragement than he gets, too,--he is now strong enough to profit by
+the discouragement of his evil tendencies.
+
+In other words, the American composer is ready for criticism.
+
+The first and most vital flaw of which his work will be accused is the
+lack of nationalism. This I should like to combat after the sophistic
+fashion of Zeno,--showing, first, why we lack that desideratum, a
+strictly national school; secondly, that a strictly national school is
+not desirable; and thirdly, that we most assuredly have a national
+school.
+
+In building a national individuality, as in building a personal
+individuality, there is always a period of discipleship under some
+older power. When the rudiments and the essentials are once thoroughly
+mastered, the shackles of discipleship are thrown off, and personal
+expression in an original way begins. This is the story of every
+master in every art: The younger Raphael was only Perugino junior.
+Beethoven's first sonatas were more completely Haydn's than the word
+"gewidmet" would declare. The youthful Canova was swept off his feet
+by the unearthing of old Greek masterpieces. Stevenson confesses
+frankly his early efforts to copy the mannerisms of Scott and others.
+Nations are only clusters of individuals, and subject to the same
+rules. Italy borrowed its beginnings from Byzantium; Germany and
+France took theirs from Italy; we, ours, from them.
+
+It was inconceivable that America should produce an autocthonous art.
+The race is one great mixture of more or less digested foreign
+elements; and it is not possible to draw a declaration of artistic, as
+of political, independence, and thenceforward be truly free.
+
+Centuries of differentiated environment (in all the senses of the word
+environment) are needed to produce a new language or a new art; and it
+was inevitable that American music should for long be only a more or
+less successful employment of European methods. And there was little
+possibility, according to all precedents in art history, that any
+striking individuality should rise suddenly to found a school based
+upon his own mannerism.
+
+Especially was this improbable, since we are in a large sense of
+English lineage. As the co-heirs, with those who remain in the British
+Isles, of the magnificent prose and poetry of England, it was possible
+for us to produce early in our own history a Hawthorne and a Poe and
+an Emerson and a Whitman. But we have had more hindrance than help
+from our heritage of English music, in which there has never been a
+master of the first rank, Purcell and the rest being, after all,
+brilliants of the lesser magnitude (with the permission of that
+electric Englishman, Mr. John F. Runciman).
+
+A further hindrance was the creed of the Puritan fathers of our
+civilization; they had a granite heart, and a suspicious eye for
+music. Here is a cheerful example of congregational lyricism, and a
+lofty inspiration for musical treatment (the hymn refers to the fate
+of unbaptized infants):
+
+    "A crime it is! Therefore in Bliss
+      You may not hope to dwell;
+    But unto you I shall allow
+      The easiest room in Hell."
+
+It was only at the end of the seventeenth century that singing by
+note began to supplant the "lining-out" barbarism, and to provoke such
+fierce opposition as this:
+
+    "First, it is a new way--an unknown tongue; 2d, it is not so
+    melodious as the old way; 3d, there are so many tunes that
+    nobody can learn them; 4th, the new way makes a disturbance
+    in churches, grieves good men, exasperates them, and causes
+    them to behave disorderly; 5th, it is popish; 6th, it will
+    introduce instruments; 7th, the names of the notes are
+    blasphemous; 8th, it is needless, the old way being good
+    enough; 9th, it requires too much time to learn it; 10th, it
+    makes the young disorderly."
+
+At the time when such puerility was disturbing this cradle of freedom
+and cacophony, Bach and Händel were at work in their contrapuntal
+webs, the Scarlattis, Corelli and Tartini and Porpora were alive.
+Peri, Josquin and Willaert and Lassus were dead, and the church had
+had its last mass from the most famous citizen of the town of
+Palestrina. Monteverde was no longer inventing like an Edison; Lulli
+had gone to France and died; and Rameau and Couperin were alive.
+
+At this time in the world's art, the Americans were squabbling over
+the blasphemy of instruments and of notation! This is not the place to
+treat the history of our music. The curious can find enlightenment at
+such sources as Mr. Louis C. Elson's "National Music of America." It
+must be enough for me to say that the throttling hands of Puritanism
+are only now fully loosened. Some of our living composers recall the
+parental opposition that met their first inclinations to a musical
+career, opposition based upon the disgracefulness, the heathenishness,
+of music as a profession.
+
+The youthfulness of our school of music can be emphasized further by a
+simple statement that, with the exception of a few names like Lowell
+Mason, Louis Moreau Gottschalk, Stephen A. Emery (a graceful writer as
+well as a theorist), and George F. Bristow, practically every American
+composer of even the faintest importance is now living.
+
+The influences that finally made American music are chiefly German.
+Almost all of our composers have studied in Germany, or from teachers
+trained there; very few of them turning aside to Paris, and almost
+none to Italy. The prominent teachers, too, that have come from
+abroad have been trained in the German school, whatever their
+nationality. The growth of a national school has been necessarily
+slow, therefore, for its necessary and complete submission to German
+influences.
+
+It has been further delayed by the meagre native encouragement to
+effort of the better sort. The populace has been largely
+indifferent,--the inertia of all large bodies would explain that. A
+national, a constructive, and collaborative criticism has been
+conspicuously absent.
+
+The leaders of orchestras have also offered an almost insurmountable
+obstacle to the production of any work from an American hand until
+very recently. The Boston Symphony Orchestra has been a noble
+exception to this rule, and has given about the only opening possible
+to the native writer. The Chicago Orchestra, in eight seasons under
+Theodore Thomas, devoted, out of a total of 925 numbers, only
+eighteen, or something less than two per cent., to native music. Yet
+time shows a gradual improvement, and in 1899, out of twenty-seven
+orchestral numbers performed, three were by Americans, which makes a
+liberal tithe. The Boston Symphony has played the compositions of John
+Knowles Paine alone more than eighteen times, and those of George W.
+Chadwick the same number, while E.A. MacDowell and Arthur Foote each
+appeared on the programs fourteen times. The Kaltenborn Orchestra has
+made an active effort at the promulgation of our music, and especial
+honor is due to Frank Van der Stucken, himself a composer of marked
+abilities; he was among the first to give orchestral production to
+American works, and he was, perhaps, the very first to introduce
+American orchestral work abroad. Like his offices, in spirit and
+effect, have been the invaluable services of our most eminent pianist,
+Wm. H. Sherwood, who was for many years the only prominent performer
+of American piano compositions.
+
+Public singers also have been most unpatriotic in preferring endless
+repetition of dry foreign arias to fresh compositions from home. The
+little encore song, which generally appeared anonymously, was the
+opening wedge for the American lyrist.
+
+Upon the horizon of this gloom, however, there is a tremor of a
+dawning interest in national music. Large vocal societies are giving
+an increasing number of native part songs and cantatas; prizes are
+being awarded in various places, and composers find some financial
+encouragement for appearing in concerts of their own work. Manuscript
+societies are organized in many of the larger cities, and these clubs
+offer hearing to novelty. There have latterly appeared, from various
+publishers, special catalogues vaunting the large number of American
+composers represented on their lists.
+
+Another, and a most important sign of the growing influence of music
+upon American life, is seen in the place it is gaining in the college
+curriculum; new chairs have been established, and prominent composers
+called to fill them, or old professorships that held merely nominal
+places in the catalogue have been enlarged in scope. In this way music
+is reëstablishing itself in something like its ancient glory; for the
+Greeks not only grouped all culture under the general term of
+"Music," but gave voice and instrument a vital place in education.
+Three of our most prominent composers fill the chairs at three of the
+most important universities. In all these cases, however, music is an
+elective study, while the rudiments of the art should, I am convinced,
+be a required study in every college curriculum, and in the common
+schools as well.
+
+Assuming then, for the nonce, the birth--we are too new a country to
+speak of a Renascence--of a large interest in national music, there is
+large disappointment in many quarters, because our American music is
+not more American. I have argued above that a race transplanted from
+other soils must still retain most of the old modes of expression, or,
+varying them, change slowly. But many who excuse us for the present
+lack of a natural nationalism, are so eager for such a differentiation
+that they would have us borrow what we cannot breed.
+
+The folk-music of the negro slaves is most frequently mentioned as the
+right foundation for a strictly American school. A somewhat
+misunderstood statement advanced by Dr. Antonin Dvôrák, brought this
+idea into general prominence, though it had been discussed by American
+composers, and made use of in compositions of all grades long before
+he came here.
+
+The vital objection, however, to the general adoption of negro music
+as a base for an American school of composition is that it is in no
+sense a national expression. It is not even a sectional expression,
+for the white Southerners among whose slaves this music grew, as well
+as the people of the North, have always looked upon negro music as an
+exotic and curious thing. Familiar as it is to us, it is yet as
+foreign a music as any Tyrolean jodel or Hungarian czardas.
+
+The music of the American Indian, often strangely beautiful and
+impressive, would be as reasonably chosen as that of these imported
+Africs. E.A. MacDowell had, indeed, written a picturesque and
+impressive Indian suite, some time before the Dvôrákian invasion. He
+asserts that the Indian music is preferable to the Ethiopian, because
+its sturdiness and force are more congenial with the national mood.
+
+But the true hope for a national spirit in American music surely lies,
+not in the arbitrary seizure of some musical dialect, but in the
+development of just such a quality as gives us an individuality among
+the nations of the world in respect to our character as a people; and
+that is a Cosmopolitanism made up of elements from all the world, and
+yet, in its unified qualities, unlike any one element. Thus our music
+should, and undoubtedly will, be the gathering into the spirit of the
+voices of all the nations, and the use of all their expressions in an
+assimilated, a personal, a spontaneous manner. This need not, by any
+means, be a dry, academic eclecticism. The Yankee, a composite of all
+peoples, yet differs from them all, and owns a sturdy individuality.
+His music must follow the same fate.
+
+As our governmental theories are the outgrowth of the experiments and
+experiences of all previous history, why should not our music, voicing
+as it must the passions of a cosmopolitan people, use cosmopolitan
+expressions? The main thing is the individuality of each artist. To be
+a citizen of the world, provided one is yet spontaneous and sincere
+and original, is the best thing. The whole is greater than any of its
+parts.
+
+Along just these lines of individualized cosmopolitanism the American
+school is working out its identity. Some of our composers have shown
+themselves the heirs of European lore by work of true excellence in
+the larger classic and romantic forms.
+
+The complaint might be made, indeed, that the empty, incorrect period
+of previous American music has given place to too much correctness and
+too close formation on the old models. This is undoubtedly the result
+of the long and faithful discipleship under German methods, and need
+not be made much of in view of the tendency among a few masters toward
+original expression. For, after all, even in the heyday of the
+greatest art periods, only a handful of artists have ever stood out as
+strongly individual; the rest have done good work as faithful
+imitators and past masters in technic. It is, then, fortunate that
+there is any tendency at all among any of our composers to forsake
+academic content with classical forms and text-book development of
+ideas.
+
+Two things, however, are matters for very serious disappointment: the
+surprising paucity of musical composition displaying the national
+sense of humor, and the surprising abundance of purest namby-pamby.
+The presence of the latter class might be explained by the absence of
+the former, for namby-pamby cannot exist along with a healthy sense
+of the ludicrous. There has been a persistent craze among native
+song-writers for little flower-dramas and bird-tragedies, which,
+aiming at exquisiteness, fall far short of that dangerous goal and
+land in flagrant silliness. This weakness, however, will surely
+disappear in time, or at least diminish, until it holds no more
+prominent place than it does in all the foreign schools, where it
+exists to a certain extent.
+
+The scherzo, however, must grow in favor. It is impossible that the
+most jocose of races, a nation that has given the world an original
+school of humor, should not carry this spirit over into its music. And
+yet almost none of the comparatively few scherzos that have been
+written here have had any sense of the hilarious jollity that makes
+Beethoven's wit side-shaking. They have been rather of the Chopinesque
+sort, mere fantasy. To the composers deserving this generalization I
+recall only two important exceptions, Edgar S. Kelley and Harvey
+Worthington Loomis.
+
+The opportunities before the American composer are enormous, and only
+half appreciated. Whereas, in other arts, the text-book claims only to
+be a chronicle of what has been done before, in music the text-book is
+set up as the very gospel and decalogue of the art. The theorists have
+so thoroughly mapped out the legitimate resources of the composer, and
+have so prescribed his course in nearly every possible position, that
+music is made almost more of a mathematical problem than the free
+expression of emotions and æsthetics. "Correct" music has now hardly
+more liberty than Egyptian sculpture or Byzantine painting once had.
+Certain dissonances are permitted, and certain others, no more
+dissonant, forbidden, quite arbitrarily, or on hair-splitting
+theories. It is as if one should write down in a book a number of
+charts, giving every scheme of color and every juxtaposition of values
+permissible to a painter. The music of certain Oriental nations, in
+which the religious orders are the art censors, has stuck fast in its
+rut because of the observance of rules purely arbitrary. Many of the
+conventions of modern European music are no more scientific or
+original or consistent; most of them are based upon the principle that
+the whim of a great dead composer is worthy to be the law of any
+living composer. These Blue Laws of music are constantly assailed
+surreptitiously and in detail; and yet they are too little attacked as
+a whole. But music should be a democracy and not an aristocracy, or,
+still less, a hierarchy.
+
+There is a great opportunity for America to carry its political
+principles into this youngest of the arts. It is a gratifying sign
+that one of the most prominent theorists of the time, an American
+scholar, A.J. Goodrich, is adopting some such attitude toward music.
+He carries dogma to the minimum, and accepts success in the individual
+instance as sufficient authority for overstepping any general
+principle. He refers to a contemporary American composer for authority
+and example of some successful unconventionality with the same respect
+with which he would quote a European's disregard of convention. His
+pioneering is watched with interest abroad as well as here.
+
+Worthy of mention along with Mr. Goodrich' original work is the effort
+of Homer A. Norris to instil French ideas of musical theory. As a
+counterweight to the German monopoly of our attention, his influence
+is to be cordially welcomed.
+
+Now that Americanism is rife in the land, some of the glowing interest
+in things national might well be turned toward an art that has been
+too much and too long neglected among us.
+
+The time has come to take American music seriously. The day for
+boasting is not yet here,--if indeed it ever comes; but the day of
+penitent humility is surely past.
+
+A student of the times, Mr. E.S. Martin, shortly before the Spanish
+War, commented on the radical change that had come over the spirit of
+American self-regard. We were notorious in the earlier half of the
+century for boasting, not only of the virtues we indubitably had, but
+of qualities that existed solely in our own imagination. We sounded
+our barbaric yawp over the roofs of the world. A century of almost
+unanimous European disapproval, particularly of our artistic estate,
+finally converted us from this attitude to one of deprecation almost
+abject. Having learned the habit of modesty, it has clung to us even
+now, when some of the foremost artists in the world are Americans.
+
+Modesty, is, of course, one of the most beautiful of the virtues, but
+excess is possible and dangerous. As Shakespeare's Florio's Montaigne
+has it: "We may so seize on vertue, that if we embrace it with an
+over-greedy and violent desire, it may become vitious." In the case of
+the American composer it is certainly true that we "excessively
+demeane ourselves in a good action." If, then, the glory of our late
+successes in the field of battle shall bring about a recrudescence of
+our old vanity, it will at least have its compensations.
+
+Meanwhile, the American artist, having long ago ceased to credit
+himself with all the virtues, has been for years earnestly working out
+his own salvation in that spirit of solemn determination which makes
+it proverbial for the American to get anything he sets his heart on.
+He has submitted himself to a devout study of the Old Masters and the
+New; he has made pilgrimage after pilgrimage to the ancient temples of
+art, and has brought home influences that cannot but work for good.
+The American painter has won more European acceptance than any of our
+other artists, though this is partly due to his persistence in
+knocking at the doors of the Paris salons, and gaining the universal
+prestige of admission there. There is, unfortunately, no such place
+to focus the attention of the world on a musician. Yet, through the
+success of American musical students among their rivals abroad;
+through the concerts they are giving more and more frequently in
+foreign countries; through the fact that a number of European music
+houses are publishing increasing quantities of American compositions,
+he is making his way to foreign esteem almost more rapidly than at
+home.
+
+A prominent German critic, indeed, has recently put himself on record
+as accepting the founding of an American school of music as a _fait
+accompli_. And no student of the times, who will take the trouble to
+seek the sources of our art, and observe its actual vitality, need be
+ashamed of looking at the present state of music in America with a
+substantial pride and a greater hope for the future.
+
+
+
+
+CHAPTER II.
+
+THE INNOVATORS.
+
+
+_Edward Alexander MacDowell._
+
+[Illustration: Autograph of Edward MacDowell]
+
+The matter of precedence in creative art is as hopeless of solution as
+it is unimportant. And yet it seems appropriate to say, in writing of
+E.A. MacDowell, that an almost unanimous vote would grant him rank as
+the greatest of American composers, while not a few ballots would
+indicate him as the best of living music writers.
+
+But this, to repeat, is not vital, the main thing being that MacDowell
+has a distinct and impressive individuality, and uses his profound
+scholarship in the pursuit of novelty that is not cheaply sensational,
+and is yet novelty. He has, for instance, theories as to the textures
+of sounds, and his chord-formations and progressions are quite his
+own.
+
+His compositions are superb processions, in which each participant is
+got up with the utmost personal splendor. His generalship is great
+enough to preserve the unity and the progress of the pageant. With him
+no note in the melody is allowed to go neglected, ill-mounted on
+common chords in the bass, or cheap-garbed in trite triads. Each tone
+is made to suggest something of its multitudinous possibilities.
+Through any geometrical point, an infinite number of lines can be
+drawn. This is almost the case with any note of a melody. It is the
+recognition and the practice of this truth that gives the latter-day
+schools of music such a lusciousness and warmth of harmony. No one is
+a more earnest student of these effects than MacDowell.
+
+He believes that it is necessary, at this late day, if you would have
+a chord "bite," to put a trace of acid in its sweetness. With this
+clue in mind, his unusual procedures become more explicable without
+losing their charm.
+
+New York is rather the Mecca than the birthplace of artists, but it
+can boast the nativity of MacDowell, who improvised his first songs
+here December 18, 1861. He began the study of the piano at an early
+age. One of his teachers was Mme. Teresa Carreño, to whom he has
+dedicated his second concerto for the piano.
+
+In 1876 he went to Paris and entered the Conservatoire, where he
+studied theory under Savard, and the piano under Marmontel. He went to
+Wiesbaden to study with Ehlert in 1879, and then to Frankfort, where
+Carl Heyman taught him piano and Joachim Raff composition. The
+influence of Raff is of the utmost importance in MacDowell's music,
+and I have been told that the great romancist made a _protégé_ of him,
+and would lock him in a room for hours till he had worked out the most
+appalling musical problems. Through Raff's influence he became first
+piano teacher at the Darmstadt Conservatorium in 1881. The next year
+Raff introduced him to Liszt, who became so enthusiastic over his
+compositions that he got him the honor of playing his first piano
+suite before the formidable _Allgemeiner Deutscher Musik Verein_,
+which accorded him a warm reception. The following years were spent in
+successful concert work, till 1884, when MacDowell settled down to
+teaching and composing in Wiesbaden. Four years later he came to
+Boston, writing, teaching, and giving occasional concerts. Thence he
+returned to New York, where he was called to the professorship of
+music at Columbia University. Princeton University has given him that
+unmusical degree, Mus. Doc.
+
+MacDowell has met little or none of that critical recalcitrance that
+blocked the early success of so many masters. His works succeeded from
+the first in winning serious favor; they have been much played in
+Germany, in Vienna, St. Petersburg, Amsterdam, and Paris, one of them
+having been performed three times in a single season at Breslau.
+
+MacDowell's Scotch ancestry is always telling tales on him. The
+"Scotch snap" is a constant rhythmic device, the old scale and the old
+Scottish cadences seem to be native to his heart. Perhaps one might
+find some kinship between MacDowell and the contemporary Glasgow
+school of painters, that clique so isolated, so daring, and yet so
+earnest and solid. Says James Huneker in a monograph published some
+years ago: "His coloring reminds me at times of Grieg, but when I
+tracked the resemblance to its lair, I found only Scotch, as Grieg's
+grand-folk were Greggs, and from Scotland. It is all Northern music
+with something elemental in it, and absolutely free from the heavy,
+languorous odors of the South or the morbidezza of Poland."
+
+Some of MacDowell's most direct writing has been in the setting of the
+poems of Burns, such as "Deserted" ("Ye banks and braes o' bonnie
+Doon," op. 9), "Menie," and "My Jean" (op. 34). These are strongly
+marked by that ineffably fine melodic flavor characteristic of
+Scottish music, while in the accompaniments they admit a touch of the
+composer's own individuality. In his accompaniments it is noteworthy
+that he is almost never strictly contramelodic.
+
+The songs of opera 11 and 12 have a decided Teutonism, but he has
+found himself by opus 40, a volume of "Six Love Songs," containing
+half a dozen flawless gems it is a pity the public should not know
+more widely. A later book, "Eight Songs" (op. 47), is also a cluster
+of worthies. The lilt and sympathy of "The Robin Sings in the
+Apple-tree," and its unobtrusive new harmonies and novel effects, in
+strange accord with truth of expression, mark all the other songs,
+particularly the "Midsummer Lullaby," with its accompaniment as
+delicately tinted as summer clouds. Especially noble is "The Sea,"
+which has all the boom and roll of the deep-brooding ocean.
+
+His collections of flower-songs (op. 26) I confess not liking. Though
+they are not without a certain exquisiteness, they seem overdainty
+and wastefully frail, excepting, possibly, the "Clover" and the
+"Blue-bell." It is not at all their brevity, but their triviality,
+that vexes an admirer of the large ability that labored over them.
+They are dedicated to Emilio Agramonte, one of MacDowell's first
+prophets, and one of the earliest and most active agents for the
+recognition of the American composer.
+
+In the lyrics in opus 56 and opus 58 MacDowell has turned song to the
+unusual purposes of a landscape impressionism of places and moods
+rather than people.
+
+For men's voices there are some deftly composed numbers curiously
+devoted to lullaby subjects. The barcarolle for mixed chorus and
+accompaniment on the piano for four hands obtains a wealth of color,
+enhanced by the constant division of the voices.
+
+Studying as he did with Raff, it is but natural that MacDowell should
+have been influenced strongly toward the poetic and fantastic and
+programmatic elements that mark the "Forest Symphony" and the "Lenore
+Overture" of his master.
+
+It is hard to say just how far this descriptive music can go. The
+skill of each composer must dictate his own limits. As an example of
+successful pieces of this kind, consider MacDowell's "The Eagle." It
+is the musical realization of Tennyson's well-known poem:
+
+    "He clasps the crag with crooked hands;
+    Close to the sun in lonely lands,
+    Ring'd with the azure world, he stands.
+    The wrinkled sea beneath him crawls;
+    He watches from his mountain walls,
+    And like a thunderbolt he falls."
+
+Of course the crag and the crooked hands and the azure world must be
+granted the composer, but general exaltation and loneliness are
+expressed in the severe melody of the opening. The wrinkling and
+crawling of the sea far below are splendidly achieved in the soft,
+shimmering liquidity of the music. Then there are two abrupt, but
+soft, short chords that will represent, to the imaginative, the quick
+fixing of the eagle's heart on some prey beneath; and there follows a
+sudden precipitation down the keyboard, _fortississimo_, that
+represents the thunderous swoop of the eagle with startling effect.
+
+On the other hand, the "Moonshine" seems to be attempting too much.
+"Winter" does better, for it has a freezing stream, a mill-wheel, and
+a "widow bird." These "four little poems" of opus 32 had been preceded
+by six fine "Idylls" based on lyrics of Goethe's. The first, a forest
+scene, has a distinct flavor of the woods, the second is all laziness
+and drowsiness, and the third is moonlight mystery. The fourth is as
+intense in its suppressed spring ecstasy as the radiant poem itself
+singing how
+
+    "Soft the ripples spill and hurry
+    To the opulent embankment."
+
+The six short "Poems" (op. 31) based on poems of Heine's are
+particularly successful, especially in the excellent opportunity of
+the lyric describing the wail of the Scottish woman who plays her harp
+on the cliff, and sings above the raging of sea and wind. The third
+catches most happily the whimsicality of the poet's reminiscences of
+childhood, but hardly, I think, the contrasting depth and wildness of
+his complaint that, along with childhood's games, have vanished Faith
+and Love and Truth. In the last, however, the cheery majesty that
+realizes Heine's likening of Death to a cool night after the sultry
+day of Life, is superb.
+
+Then there are some four-hand pieces, two collections, that leave no
+excuse for clinging to the hackneyed classics or modern trash. They
+are not at all difficult, and the second player has something to
+employ his mind besides accompanying chords. They are meaty, and
+effective almost to the point of catchiness. The "Tale of the Knights"
+is full of chivalric fire and martial swing, while the "Ballad" is as
+exquisitely dainty as a peach-blossom. The "Hindoo Maiden" has a deal
+of the thoroughly Oriental color and feeling that distinguish the
+three solos of "Les Orientales," of which "Clair de Lune" is one of
+his most original and graceful writings. The duet, "In Tyrol," has a
+wonderful crystal carillon and a quaint shepherd piping a faint
+reminiscence of the Wagnerian school of shepherds. This is one of a
+series of "Moon Pictures" for four hands, based on Hans Christian
+Andersen's lore. Two concertos for piano and orchestra are dazzling
+feats of virtuosity; one of them is reviewed at length in A.J.
+Goodrich' book, "Musical Analysis." He has written also a book of
+artistic moment called "Twelve Virtuoso-Studies," and two books of
+actual gymnastics for piano practice.
+
+[Music: CLAIR DE LUNE.
+
+    La lune était sereine et jouait sur les flots.
+    La fenêtre enfin libre est ouverte à la brise;
+    La sultane regarde, et la mer qui se brise,
+    Là-bas, d'un flot d'argent brode les noir îlots.
+                 (Victor Hugo, "Les Orientales.")
+
+E.A. MACDOWELL, Op. 37, No. 1.
+
+Copyright, 1889, Arthur P. Schmidt.]
+
+But MacDowell did not reach his freedom without a struggle against
+academia. His opus 10 is a piano suite published at the age of
+twenty-two, and opus 14 is another; both contain such obsolescences as
+a presto, fugue, scherzino, and the like. But for all the classic
+garb, the hands are the hands of Esau. In one of the pieces there is
+even a motto tucked, "All hope leave ye behind who enter here!" Can he
+have referred to the limbo of classicism?
+
+It is a far cry from these to the liberality that inspired the new
+impressionism of "Woodland Sketches" (op. 51) and "Sea Pieces" (op.
+55), in which he gives a legitimate musical presentation of a faintly
+perfumed "Wild Rose" or "Water Lily," but goes farther, and paints,
+with wonderful tone, the moods inspired by reverie upon the uncouth
+dignity and stoic savagery of "An Indian Lodge," the lonely New
+England twilight of "A Deserted Farm," and all the changing humors of
+the sea, majesty of sunset or star-rise, and even the lucent emerald
+of an iceberg. His "From Uncle Remus" is not so successful; indeed,
+MacDowell is not sympathetic with negro music, and thinks that if we
+are to found a national school on some local manner, we should find
+the Indian more congenial than the lazy, sensual slave.
+
+He has carried this belief into action, not only by his scientific
+interest in the collection and compilation of the folk-music of our
+prairies, but by his artistic use of actual Indian themes in one of
+his most important works, his "Indian Suite" for full orchestra, a
+work that has been often performed, and always with the effect of a
+new and profound sensation, particularly in the case of the deeply
+impressive dirge.
+
+A proof of the success of MacDowell as a writer in the large forms is
+the fact that practically all of his orchestral works are published
+in Germany and here, not only in full score, but in arrangement for
+four hands. They include "Hamlet;" "Ophelia" (op. 22); "Launcelot and
+Elaine" (op. 26), with its strangely mellow and varied use of horns
+for Launcelot, and the entrusting of the plaintive fate of "the lily
+maid of Astolat" to the string and wood-wind choirs; "The Saracens"
+and "The Lovely Alda" (op. 30), two fragments from the Song of Roland;
+and the Suite (op. 42), which has been played at least eight times in
+Germany and eleven times here.
+
+The first movement of this last is called "In a Haunted Forest." You
+are reminded of Siegfried by the very name of the thing, and the music
+enforces the remembrance somewhat, though very slightly.
+
+Everything reminds one of Wagner nowadays,--even his predecessors.
+Rudyard Kipling has by his individuality so copyrighted one of the
+oldest verse-forms, the ballad, that even "Chevy Chace" looks like an
+advance plagiarism. So it is with Wagner. Almost all later music, and
+much of the earlier, sounds Wagnerian. But MacDowell has been reminded
+of Bayreuth very infrequently in this work. The opening movement
+begins with a _sotto voce_ syncopation that is very presentative of
+the curious audible silence of a forest. The wilder moments are
+superbly instrumented.
+
+The second movement, "Summer Idyl," is delicious, particularly in the
+chances it gives the flautist. There is a fragmentary cantilena which
+would make the fortune of a comic opera. The third number, "In
+October," is particularly welcome in our music, which is strangely and
+sadly lacking in humor. There is fascinating wit throughout this
+harvest revel. "The Shepherdess' Song" is the fourth movement. It is
+not précieuse, and it is not banal; but its simplicity of pathos is a
+whit too simple. The final number, "Forest Spirits," is a brilliant
+climax. The Suite as a whole is an important work. It has detail of
+the most charming art. Best of all, it is staunchly individual. It is
+MacDowellian.
+
+While the modern piano sonata is to me anathema as a rule, there are
+none of MacDowell's works that I like better than his writings in this
+form. They are to me far the best since Beethoven, not excepting even
+Chopin's (_pace_ his greatest prophet, Huneker). They seem to me to be
+of such stuff as Beethoven would have woven had he known in fact the
+modern piano he saw in fancy.
+
+The "Sonata Tragica" (op. 45) begins in G minor, with a bigly
+passionate, slow introduction (metronomed in the composer's copy,
+[quarter-note]-50). The first subject is marked in the same copy,
+though not in the printed book, [half-note]-69, and the appealingly
+pathetic second subject is a little slower. The free fantasy is full
+of storm and stress, with a fierce pedal-point on the trilled
+leading-tone. In the reprise the second subject, which was at first in
+the dominant major, is now in the tonic major, though the key of the
+sonata is G minor. The allegro is metronomed [quarter-note]-138, and
+it is very short and very wild. Throughout, the grief is the grief of
+a strong soul; it never degenerates into whine. Its largo is like the
+tread of an Æschylean _choros_, its allegro movements are wild with
+anguish, and the occasional uplifting into the major only emphasizes
+the sombre whole, like the little rifts of clearer harmony in
+Beethoven's "Funeral March on the Death of a Hero."
+
+The last movement begins with a ringing _pomposo_, and I cannot
+explain its meaning better than by quoting Mrs. MacDowell's words:
+"Mr. MacDowell's idea was, so to speak, as follows: He wished to
+heighten the darkness of tragedy by making it follow closely on the
+heels of triumph. Therefore, he attempted to make the last movement a
+steadily progressive triumph, which, at its climax, is utterly broken
+and shattered. In doing this he has tried to epitomize the whole work.
+While in the other movements he aimed at expressing tragic details,
+in the last he has tried to generalize; thinking that the most
+poignant tragedy is that of catastrophe in the hour of triumph."
+
+The third sonata (op. 57) is dedicated to Grieg and to the musical
+exploitation of an old-time Skald reciting glorious battles, loves,
+and deaths in an ancient castle. The atmosphere of mystery and
+barbaric grandeur is obtained and sustained by means new to piano
+literature and potent in color and vigor. The sonata formula is warped
+to the purpose of the poet, but the themes have the classic ideal of
+kinship. The battle-power of the work is tremendous. Huneker calls it
+"an epic of rainbow and thunder," and Henry T. Finck, who has for many
+years devoted a part of his large ardor to MacDowell's cause, says of
+the work: "It is MacDowellish,--more MacDowellish than anything he has
+yet written. It is the work of a musical thinker. There are harmonies
+as novel as those we encounter in Schubert, Chopin, or Grieg, yet with
+a stamp of their own."
+
+The "Sonata Eroica" (op. 50) bears the legend "Flos regum Arthurus."
+It is also in G minor. The spirit of King Arthur dominates the work
+ideally, and justifies not only the ferocious and warlike first
+subject with its peculiar and influential rhythm, but the
+old-fashioned and unadorned folk-tone of the second subject. In the
+working out there is much bustle and much business of trumpets. In the
+reprise the folk-song appears in the tonic minor, taken most
+unconventionally in the bass under elaborate arpeggiations in the
+right hand. The coda, as in the other sonata, is simply a strong
+passage of climax. Arthur's supernatural nature doubtless suggested
+the second movement, with its elfin airs, its flibbertigibbet
+virtuosity, and its magic of color. The third movement might have been
+inspired by Tennyson's version of Arthur's farewell to Guinevere, it
+is such a rich fabric of grief. The finale seems to me to picture the
+Morte d'Arthur, beginning with the fury of a storm along the coast,
+and the battle "on the waste sand by the waste sea." Moments of fire
+are succeeded by exquisite deeps of quietude, and the death and
+apotheosis of Arthur are hinted with daring and complete equivalence
+of art with need.
+
+Here is no longer the tinkle and swirl of the elf dances; here is no
+more of the tireless search for novelty in movement and color. This is
+"a flash of the soul that can." Here is Beethoven _redivivus_. For
+half a century we have had so much pioneering and scientific
+exploration after piano color and tenderness and fire, that men have
+neglected its might and its tragic powers. Where is the piano-piece
+since Beethoven that has the depth, the breadth, the height of this
+huge solemnity? Chopin's sensuous wailing does not afford it.
+Schumann's complex eccentricities have not given it out. Brahms is too
+passionless. Wagner neglected the piano. It remained for a Yankee to
+find the austere peak again! and that, too, when the sonata was
+supposed to be a form as exhausted as the epic poem. But all this is
+the praise that one is laughed at for bestowing except on the graves
+of genius.
+
+The cautious Ben Jonson, when his erstwhile taproom roisterer, Will
+Shakespeare, was dead, defied "insolent Greece or haughty Rome" to
+show his superior. With such authority, I feel safe in at least
+defying the contemporary schools of insolent Russia or haughty Germany
+to send forth a better musicwright than our fellow townsman, Edward
+MacDowell.
+
+
+_Edgar Stillman Kelley._
+
+[Illustration: EDGAR STILLMAN KELLEY.]
+
+While his name is known wherever American music is known in its better
+aspects, yet, like many another American, his real art can be
+discovered only from his manuscripts. In these he shows a very
+munificence of enthusiasm, scholarship, invention, humor, and
+originality.
+
+[Illustration: Autograph of Edgar Stillman Kelley]
+
+Kelley is as thorough an American by descent as one could ask for, his
+maternal ancestors having settled in this country in 1630, his
+paternal progenitors in 1640, A.D. Indeed, one of the ancestors of
+his father made the dies for the pine-tree shilling, and a
+great-great-grandfather fought in the Revolution.
+
+Kelley began his terrestrial career April 14, 1857, in Wisconsin. His
+father was a revenue officer; his mother a skilled musician, who
+taught him the piano from his eighth year to his seventeenth, when he
+went to Chicago and studied harmony and counterpoint under Clarence
+Eddy, and the piano under Ledochowski. It is interesting to note that
+Kelley was diverted into music from painting by hearing "Blind Tom"
+play Liszt's transcription of Mendelssohn's "Midsummer Night's Dream"
+music. I imagine that this idiot-genius had very little other
+influence of this sort in his picturesque career.
+
+After two years in Chicago, Kelley went to Germany, where, in
+Stuttgart, he studied the piano with Kruger and Speidel, organ with
+Finck, composition and orchestration with Seiffritz. While in Germany,
+Kelley wrote a brilliant and highly successful concert polonaise for
+four hands, and a composition for strings.
+
+In 1880 he was back in America and settled in San Francisco, with
+whose musical life he was long and prominently identified as a
+teacher and critic. Here he wrote his first large work, the well-known
+melodramatic music to "Macbeth." A local benefactor, John Parrot, paid
+the expenses of a public performance, the great success of which
+persuaded McKee Rankin, the actor, to make an elaborate production of
+both play and music. This ran for three weeks in San Francisco to
+crowded houses, which is a remarkable record for many reasons. A
+shabby New York production at an ill-chosen theatre failed to give the
+work an advantageous hearing; but it has been played by orchestras
+several times since, and William H. Sherwood has made transcriptions
+of parts of it for piano solo.
+
+The "Macbeth" music is of such solid value that it reaches the dignity
+of a flowing commentary. Beyond and above this it is an interpretation,
+making vivid and awesome the deep import of the play, till even the
+least imaginative auditor must feel its thrill.
+
+Thus the gathering of the witches begins with a slow horror, which is
+surely Shakespeare's idea, and not the comic-opera _can-can_ it is
+frequently made. As various other elfs and terrors appear, they are
+appropriately characterized in the music, which also adds mightily to
+the terror of the murder scene. Throughout, the work is that of a
+thinker. Like much of Kelley's other music, it is also the work of a
+fearless and skilled programmatist, especially in the battle-scenes,
+where it suggests the crash of maces and swords, and the blare of
+horns, the galloping of horses, and the general din of huge battle.
+Leading-motives are much used, too, with good effect and most
+ingenious elaboration, notably the _Banquo_ motive. A certain amount
+of Gaelic color also adds interest to the work, particularly a
+stirring Gaelic march. The orchestration shows both scholarship and
+daring.
+
+An interesting subject is suggested by Kelley's experience in hunting
+out a good motif for the galloping horses of "Macbeth." He could find
+nothing suitably representative of storm-hoofed chargers till his
+dreams came to the rescue with a genuinely inspired theme. Several
+other exquisite ideas have come to him in his sleep in this way; one
+of them is set down in the facsimile reproduced herewith. On one
+occasion he even dreamed an original German poem and a fitting musical
+setting.
+
+Dr. Wm. A. Hammond, in his book on "Sleep and Its Derangements," is
+inclined to scout the possibility of a really valuable inspiration in
+sleep. He finds no satisfactory explanation for Tartini's famous
+"Devil's Sonata" or Coleridge' proverbial "Kubla Khan." He takes
+refuge in saying that at least the result could not be equal to the
+dreamer's capabilities when awake; but Kelley's "Macbeth" music was
+certainly an improvement on what he could invent out of the land of
+Nod.
+
+After composing a comic opera, which was refused by the man for whom
+it was written because it was too good, he drifted into journalism,
+and wrote reviews and critiques which show a very liberal mind capable
+of appreciating things both modern and classic.
+
+Kelley was again persuaded to write a comic opera to the artistic
+libretto, "Puritania," by C.M.S. McLellan, a brilliant satirist,
+who has since won fortune by his highly successful and frequently
+artistic burlesquery. The work won excellent praise in Boston, where
+it had one hundred performances. The work musically was not only
+conscientious, but really graceful and captivating. It received the
+most glowing encomiums from people of musical culture, and largely
+enhanced Kelley's musical reputation in its run of something over a
+year. On its tour Kelley was also the musical conductor, in which
+capacity he has frequently served elsewhere.
+
+Kelley plainly deserves preëminence among American composers for his
+devotion to, and skill in, the finer sorts of humorous music. No other
+American has written so artfully, so happily, or so ambitiously in
+this field. A humorous symphony and a Chinese suite are his largest
+works on this order.
+
+The symphony follows the life of "Gulliver in Lilliput." In
+development and intertwining of themes and in brilliance of
+orchestration, it maintains symphonic dignity, while in play of fancy,
+suggestive programmaticism, and rollicking enthusiasm it is infectious
+with wit. Gulliver himself is richly characterized with a burly,
+blustering English theme. The storm that throws him on the shores of
+Lilliput is handled with complete mastery, certain phrases picturing
+the toss of the billows, another the great roll of the boat, others
+the rattle of the rigging and the panic of the crew; and all wrought
+up to a demoniac climax at the wreck. As the stranded Gulliver falls
+asleep, the music hints his nodding off graphically. The entrance of
+the Lilliputians is perhaps the happiest bit of the whole delicious
+work. By adroit devices in instrumentation, their tiny band toots a
+minute national hymn of irresistible drollery. The sound of their wee
+hammers and the rest of the ludicrous adventures are carried off in
+unfailing good humor. The scene finally changes to the rescuing ship.
+Here a most hilarious hornpipe is interrupted by the distant call of
+Gulliver's aria, and the rescue is consummated delightfully.
+
+In nothing has Kelley showed such wanton scholarship and such
+free-reined fancy as in his Chinese suite for orchestra, "Aladdin." It
+is certainly one of the most brilliant musical feats of the
+generation, and rivals Richard Strauss in orchestral virtuosity.
+
+While in San Francisco, where, as every one knows, there is a
+transplanted corner of China, Kelley sat at the feet of certain
+Celestial cacophonists, and made himself adept. He fathomed the, to
+us, obscure laws of their theory, and for this work made a careful
+selection of Chinese musical ideas, and used what little harmony they
+approve of with most quaint and suggestive effect upon a splendid
+background of his own. The result has not been, as is usual in such
+alien mimicries, a mere success of curiosity.
+
+The work had its first accolade of genius in the wild protests of the
+music copyists, and in the downright mutiny of orchestral performers.
+
+On the first page of the score is this note: "This should be played
+with a bow unscrewed, so that the hairs hang loose--thus the bow never
+leaves the string." This direction is evidently meant to secure the
+effect of the Chinese violin, in which the string passes between the
+hair and the wood of the bow, and is played upon the under side. But
+what self-respecting violinist could endure such profanation without
+striking a blow for his fanes?
+
+The first movement of the suite is made up of themes actually learned
+from Chinese musicians. It represents the "Wedding of Aladdin and the
+Princess," a sort of sublimated "shivaree" in which oboes quawk, muted
+trumpets bray, pizzicato strings flutter, and mandolins (loved of
+Berlioz) twitter hilariously.
+
+The second movement, "A Serenade in the Royal Pear Garden," begins
+with a luxurious tone-poem of moonlight and shadow, out of which,
+after a preliminary tuning of the Chinese lute (or sam-yin), wails a
+lyric caterwaul (alternately in 2-4 and 3-4 tempo) which the Chinese
+translate as a love-song. Its amorous grotesque at length subsides
+into the majestic night. A part of this altogether fascinating
+movement came to Kelley in a dream.
+
+The third chapter is devoted to the "Flight of the Genie with the
+Palace," and there is a wonderfully vivid suggestion of his struggle
+to wrest loose the foundations of the building. At length he heaves it
+slowly in the air, and wings majestically away with it.
+
+It has always seemed to me that the purest stroke of genius in
+instrumentation ever evinced was Wagner's conceit of using tinkling
+bells to suggest leaping flames. And yet quite comparable with this
+seems Kelley's device to indicate the oarage of the genie's mighty
+wings as he disappears into the sky: liquid _glissandos_ on the upper
+harp-strings, with chromatic runs upon the elaborately divided
+violins, at length changed to sustained and most ethereally fluty
+harmonics. It is very ravishment.
+
+The last movement, "The Return and Feast of the Lanterns," is on the
+sonata formula. After an introduction typifying the opening of the
+temple gates (a gong giving the music further locale), the first theme
+is announced by harp and mandolin. It is an ancient Chinese air for
+the yong-kim (a dulcimer-like instrument). The second subject is
+adapted from the serenade theme. With these two smuggled themes
+everything contrapuntal (a fugue included) and instrumental is done
+that technical bravado could suggest or true art license. The result
+is a carnival of technic that compels the layman to wonder and the
+scholar to homage.
+
+A transcription for a piano duet has been made of this last movement.
+
+In Chinese-tone also is Kelley's most popular song, "The Lady Picking
+Mulberries," which brought him not only the enthusiasm of Americans
+but the high commendation of the Chinese themselves. It is written in
+the limited Chinese scale, with harmonies of our school; and is a
+humoresque of such catchiness that it has pervaded even London and
+Paris.
+
+This song is one of a series of six lyrics called "The Phases of
+Love," with this motive from the "Anatomy of Melancholy": "I am
+resolved, therefore, in this tragi-comedy of love, to act several
+parts, some satirically, some comically, some in a mixed tone." The
+poems are all by American poets, and the group, opus 6, is an
+invaluable addition to our musical literature. The first of the
+series, "My Silent Song," is a radiantly beautiful work, with a
+wondrous tender air to a rapturous accompaniment. The second is a
+setting of Edward Rowland Sill's perfect little poem, "Love's Fillet."
+The song is as full of art as it is of feeling and influence. "What
+the Man in the Moon Saw" is an engaging satire, "Love and Sleep" is
+sombre, and "In a Garden" is pathetic.
+
+Besides two small sketches, a waltz and a gavotte, and his own
+arrangements, for two and for four hands, of the Gaelic March in
+"Macbeth," Kelley has published only three piano pieces: opus 2, "The
+Flower Seekers," superb with grace, warm harmony, and May ecstasies;
+"Confluentia," whose threads of liquidity are eruditely, yet
+romantically, intertangled to represent the confluence of the Rhine
+and the Moselle; and "The Headless Horseman," a masterpiece of
+burlesque weirdness, representing the wild pursuit of Ichabod Crane
+and the final hurling of the awful head,--a pumpkin, some say. It is
+relieved by Ichabod's tender reminiscences of Katrina Van Tassel at
+the spinning-wheel, and is dedicated to Joseffy, the pianist, who
+lives in the region about Sleepy Hollow.
+
+To supplement his successful, humorously melodramatic setting of "The
+Little Old Woman who Went to the Market her Eggs for to Sell," Kelley
+is preparing a series of similar pieces called "Tales Retold for
+Musical Children." It will include "Gulliver," "Aladdin," and "Beauty
+and the Beast."
+
+Kelley once wrote music for an adaptation of "Prometheus Bound," made
+by the late George Parsons Lathrop for that ill-starred experiment,
+the Theatre of Arts and Letters. The same thoroughness of research
+that gave Kelley such a command of Chinese theories equipped him in
+what knowledge we have of Greek and the other ancient music. He has
+delivered a course of lectures on these subjects, and this learning
+was put to good and public use in his share in the staging of the
+novel "Ben Hur." His music had a vital part in carrying the play over
+the thin ice of sacrilege; it was so reverent and so appealing that
+the scrubwomen in the theatre were actually moved to tears during its
+rehearsal, and it gave the scene of the miraculous cure of the lepers
+a dignity that saved it from either ridicule or reproach.
+
+In the first act there is a suggestion of the slow, soft march of a
+caravan across the sand, the eleven-toned Greek and Egyptian scale
+being used. In the tent of the Sheik, an old Arabian scale is
+employed. In the elaborate ballets and revels in the "Grove of Daphne"
+the use of Greek scales, Greek progressions (such as descending
+parallel fourths long forbidden by the doctors of our era), a
+trimetrical grouping of measures (instead of our customary fourfold
+basis), and a suggestion of Hellenic instruments,--all this lore has
+not robbed the scene in any sense of an irresistible brilliance and
+spontaneity. The weaving of Arachne's web is pictured with especial
+power. Greek traditions have, of course, been used only for
+occasional impressionisms, and not as manacles. Elaborately colored
+modern instrumentation and all the established devices from canon up
+are employed. A piano transcription of part of the music is promised.
+The "Song of Iras" has been published. It is full of home-sickness,
+and the accompaniment (not used in the production) is a wonderwork of
+color.
+
+[Music:
+
+    Tottering above
+    In her highest noon
+    The enamoured moon blushes with love
+    While to listen
+    The red levin
+    With the rapid pleiads even
+    Which were seven
+    Pauses in heaven!
+    Pauses in heaven!
+    And they say the starry choir
+    And the other listening things,
+    That Israfel's fire is owing to that lyre
+    By which he sits and sings
+    The trembling living wire
+    Of those unusual strings
+    Of those unusual strings.
+
+By permission.
+
+FRAGMENT OF "ISRAFEL," BY EDGAR S. KELLEY.]
+
+Kelley has two unpublished songs that show him at his best, both
+settings of verse by Poe,--"Eldorado," which vividly develops the
+persistence of the knight, and "Israfel." This latter poem, as you
+know, concerns the angel "whose heart-strings are a lute." After a
+rhapsody upon the cosmic spell of the angel's singing, Poe, with a
+brave defiance, flings an implied challenge to him. The verse marks
+one of the highest reaches of a genius honored abroad as a world-great
+lyrist. It is, perhaps, praise enough, then, to say that Kelley's
+music flags in no wise behind the divine progress of the words. The
+lute idea dictates an arpeggiated accompaniment, whose harmonic beauty
+and courage is beyond description and beyond the grasp of the mind at
+the first hearing. The bravery of the climax follows the weird and
+opiate harmonies of the middle part with tremendous effect. The song
+is, in my fervent belief, a masterwork of absolute genius, one of the
+very greatest lyrics in the world's music.
+
+
+_Harvey Worthington Loomis._
+
+[Illustration: HARVEY WORTHINGTON LOOMIS.]
+
+[Illustration: Autograph of Harvey Worthington Loomis]
+
+In the band of pupils that gathered to the standard of the invader,
+Antonin Dvôrák, when, in 1892, he came over here from Macedonia to
+help us, some of the future's best composers will probably be found.
+
+Of this band was Harvey Worthington Loomis, who won a three years'
+scholarship in Doctor Dvôrák's composition class at the National
+Conservatory, by submitting an excellent, but rather uncharacteristic,
+setting of Eichendorff's "Frühlingsnacht." Loomis evidently won
+Doctor Dvôrák's confidence, for among the tasks imposed on him was a
+piano concerto to be built on the lines of so elaborate a model as
+Rubinstein's in D minor. When Loomis' first sketches showed an
+elaboration even beyond the complex pattern, Dvôrák still advised him
+to go on. To any one that knows the ways of harmony teachers this will
+mean much.
+
+Loomis (who was born in Brooklyn, February 5, 1865, and is now a
+resident of New York) pursued studies in harmony and piano in a
+desultory way until he entered Doctor Dvôrák's class. For his musical
+tastes he was indebted to the artistic atmosphere of his home.
+
+Though Loomis has written something over five hundred compositions,
+only a few works have been published, the most important of which are
+"Fairy Hill," a cantatilla for children, published in 1896 (it was
+written on a commission that fortunately allowed him liberty for not a
+little elaboration and individuality), "Sandalphon," and a few songs
+and piano pieces.
+
+A field of his art that has won his especial interest is the use of
+music as an atmosphere for dramatic expression. Of this sort are a
+number of pantomimes, produced with much applause in New York by the
+Academy of Dramatic Arts; and several musical backgrounds. The 27th of
+April, 1896, a concert of his works was given by a number of
+well-known artists.
+
+These musical backgrounds are played in accompaniment to dramatic
+recitations. Properly managed, the effect is most impressive. Féval's
+poem, "The Song of the Pear-tree," is a typically handled work. The
+poem tells the story of a young French fellow, an orphan, who goes to
+the wars as substitute for his friend Jean. After rising from rank to
+rank by bravery, he returns to his home just as his sweetheart,
+Perrine, enters the church to wed Jean. The girl had been his one
+ambition, and now in his despair he reënlists and begs to be placed in
+the thickest of danger. When he falls, they find on his breast a
+withered spray from the pear-tree under which Perrine had first
+plighted troth. On these simple lines the music builds up a drama.
+From the opening shimmer and rustle of the garden, through the
+Gregorian chant that solemnizes the drawing of the lots, and is
+interrupted by the youth's start of joy at his own luck (an abrupt
+_glissando_); through his sturdy resolve to go to war in his friend's
+place, on through many battles to his death, all is on a high plane
+that commands sympathy for the emotion, and enforces unbounded
+admiration for the art. There is a brief hint of the Marseillaise
+woven into the finely varied tapestry of martial music, and when the
+lover comes trudging home, his joy, his sudden knowledge of Perrine's
+faithlessness, and his overwhelming grief are all built over a long
+organ-point of three clangorous bride-bells. The _leit-motif_ idea is
+used with suggestive clearness throughout the work.
+
+The background to Longfellow's "Sandalphon" is so fine an arras that
+it gives the poet a splendor not usual to his bourgeois lays. The
+music runs through so many phases of emotion, and approves itself so
+original and exaltedly vivid in each that I put it well to the fore
+of American compositions.
+
+Hardly less large is the--Loomis calls it "Musical Symbolism," for
+Adelaide Ann Proctor's "The Story of the Faithful Soul." Of the
+greatest delicacy imaginable is the music (for piano, violin, and
+voice) to William Sharp's "Coming of the Prince." The "Watteau
+Pictures" are poems of Verlaine's variously treated: one as a
+head-piece to a wayward piano caprice, one to be recited during a
+picturesque waltz, the last a song with mandolin effects in the
+accompaniment.
+
+[Music:
+
+    How, erect, at the outermost gates of the City
+    Celestial he waits,
+    With his feet on the ladder of light,
+    That, crowded with angels unnumbered,
+    By Jacob was seen as he slumbered
+    Alone in the desert at night?
+    The Angels of Wind and of Fire
+    Chant only one hymn, and expire
+    With the song's irresistible stress,
+    Expire in their rapture and wonder,
+    As harp-strings are broken asunder
+    By music they throb to express.
+    But serene in the rapturous throng,
+    Unmoved by the rush of the song,
+    With eyes unimpassioned and slow,
+    Among the dead angels, the deathless
+    Sandalphon stands listening, breathless,
+    To sounds that ascend from below,...
+
+Copyright, 1896, by Edgar S. Werner.
+
+A FRAGMENT OF "SANDALPHON," BY H.W. LOOMIS.]
+
+The pantomimes range from grave to gay, most of the librettos in this
+difficult form being from the clever hand of Edwin Starr Belknap.
+"The Traitor Mandolin," "In Old New Amsterdam," "Put to the Test,"
+"Blanc et Noir," "The Enchanted Fountain," "Her Revenge," "Love and
+Witchcraft" are their names. The music is full of wit, a quality
+Loomis possesses in unusual degree. The music mimics everything from
+the busy feather-duster of the maid to her eavesdropping. Pouring
+wine, clinking glasses, moving a chair, tearing up a letter, and a
+rollicking wine-song in pantomime are all hinted with the drollest and
+most graphic programmism imaginable.
+
+Loomis has also written two burlesque operas, "The Maid of Athens" and
+"The Burglar's Bride," the libretto of the latter by his brother,
+Charles Battell Loomis, the well-known humorist. This latter contains
+some skilful parody on old fogyism.
+
+In the Violin Sonata the piano, while granting precedence to the
+violin, approaches almost to the dignity of a duet. The finale is
+captivating and brilliant, and develops some big climaxes. The work as
+a whole is really superb, and ought to be much played. There are,
+besides, a "Lyric Finale" to a sonata not yet written, and several
+songs for violin, voice, and piano.
+
+A suite for four hands, "In Summer Fields," contains some happy
+manifestations of ability, such as "A June Roundelay," "The Dryad's
+Grove," and, especially, a humoresque "Junketing," which is surely
+destined to become a classic. From some of his pantomimes Loomis has
+made excerpts, and remade them with new elaboration for two pianos,
+under the name of "Exotics." These are full of variety and of actual
+novelty, now of startling discord, now of revelatory beauty. A
+so-called "Norland Epic," freely constructed on the sonata formula, is
+one of Loomis' most brilliant and personal achievements.
+
+Loomis has an especial aptitude for writing artistic ballet-music, and
+for composing in the tone of different nationalities, particularly the
+Spanish. His pantomimes contain many irresistible dances, one of them
+including a Chinese dance alternating 4-4 with 3-4 time. His
+strikingly fleet "Harlequin" has been published.
+
+The gift of adding art to catchiness is a great one. This Loomis
+seems to have to an unusual degree, as is evidenced by the dances in
+his pantomimes and his series of six pieces "In Ballet Costume," all
+of them rich with the finest art along with a Strauss-like
+spontaneity. These include "L'Amazone," "Pirouette," "Un Pas Seul,"
+"La Coryphée," "The Odalisque," and "The Magyar." One of his largest
+works is a concert waltz, "Mi-Carême," for two pianos, with elaborate
+and extended introduction and coda.
+
+A series of Genre Pictures contains such lusciousness of felicity as
+"At an Italian Festival," and there are a number of musical moments of
+engaging charm, for instance, "N'Importe Quoi," "From a Conservatory
+Program," "A Tropical Night," a fascinating "Valsette," a nameless
+valse, and "Another Scandal," which will prove a gilt-edged
+speculation for some tardy publisher. It is brimming with the
+delicious horror of excited gossipry. An example of how thoroughly
+Loomis is invested with music--how he thinks in it--is his audacious
+scherzo, "The Town Crier," printed herewith.
+
+In songs Loomis has been most prolific. He has set twenty-two of
+Shakespeare's lyrics to music of the old English school, such as his
+uproarious "Let me the cannikin clink," and his dainty "Tell me where
+is fancy bred."
+
+"The Lark" is written in the pentatonic scale, with accompaniment for
+two flutes and a harp.
+
+In the same vein are various songs of Herrick, a lyrist whose verse
+is not usually congenial to the modern music-maker. Loomis' "Epitaph
+on a Virgin" must be classed as a success. Indeed, it reaches positive
+grandeur at its climax, wherein is woven the grim persistence of a
+tolling bell. In the same style is a clever setting of Ben Jonson's
+much music'd "To Celia."
+
+In German-tone are his veritably magnificent "Herbstnacht" and his "At
+Midnight," two studies after Franz. Heine's "Des Waldes Kapellmeister"
+has been made into a most hilarious humoresque.
+
+"Bergerie" is a dozen of Norman Gale's lyrics. "Andalusia" is a
+flamboyant duet.
+
+In Scotch songs there is a positive embarrassment of riches, Loomis'
+fancies finding especial food and freedom in this school. I find in
+these settings far more art and grace than I see even in Schumann's
+many Scotch songs, or those of any other of the Germans. "Oh, for Ane
+and Twenty" has bagpipe effects. Such flights of ecstasy as "My Wife's
+a Winsome Wee Thing," and "Bonnie Wee Thing," are simply tyrannical in
+their appeal. Then there is an irresistible "Polly Stewart;" and "My
+Peggy's Heart" is fairly ambrosial. These and several others, like
+"There Was a Bonnie Lass," could be made into an album of songs that
+would delight a whole suite of generations.
+
+A number of his songs are published: they include a "John Anderson, My
+Jo," that has no particular right to live; a ballad, "Molly," with a
+touch of art tucked into it; the beautiful "Sylvan Slumbers," and the
+quaint and fascinating "Dutch Garden."
+
+Aside from an occasional song like "Thistledown," with its brilliantly
+fleecy accompaniment, and the setting of Browning's famous "The Year'
+at the Spring," for which Loomis has struck out a superb frenzy, and a
+group of songs by John Vance Cheney, Loomis has found some of his most
+powerful inspirations in the work of our lyrist, Aldrich,--such as
+the rich carillon of "Wedded," and his "Discipline," one of the best
+of all humorous songs, a gruesome scherzo all about dead monks, in
+which the music furnishes out the grim irreverence of the words with
+the utmost waggery.
+
+Chief among the lyrics by Cheney are three "Spring Songs," in which
+Loomis has caught the zest of spring with such rapture that, once they
+are heard, the world seems poor without them in print. Loomis'
+literary culture is shown in the sure taste of his selection of lyrics
+for his music. He has marked aptitudes, too, in creative literature,
+and has an excellent idea of the arts kindred to his own, particularly
+architecture.
+
+Like Chopin, Loomis is largely occupied in mixing rich new colors on
+the inexhaustible palette of the piano. Like Chopin, he is not
+especially called to the orchestra. What the future may hold for him
+in this field (by no means so indispensable to classic repute as
+certain pedants assume) it is impossible to say. In the meantime he is
+giving most of his time to work in larger forms.
+
+If in his restless hunt for novelty, always novelty, he grows too
+original, too unconventional, this sin is unusual enough to approach
+the estate of a virtue. But his oddity is not mere sensation-mongering.
+It is his individuality. He could make the same reply to such
+criticism that Schumann made; he thinks in strange rhythms and hunts
+curious effects, because his tastes are irrevocably so ordained.
+
+But we ought to show a new genius the same generosity toward flaws
+that we extend toward the masters whose fame is won beyond the
+patronage of our petty forgiveness. And, all in all, I am impelled to
+prophesy to Loomis a place very high among the inspired makers of new
+music. His harmonies, so indefatigably searched out and polished to
+splendor, so potent in enlarging the color-scale of the piano; his
+patient building up, through long neglect and through long silence, of
+a monumental group of works and of a distinct individuality, must
+prove at some late day a source of lasting pride to his country,
+neglectful now in spite of itself. But better than his patience, than
+his courage, than his sincerity, better than that insufficient
+definition of genius,--the capacity for taking infinite pains,--is his
+inspired felicity. His genius is the very essence of felicity.
+
+
+_Ethelbert Nevin._
+
+[Illustration: ETHELBERT NEVIN.]
+
+It is refreshing to be able to chronicle the achievements of a
+composer who has become financially successful without destroying his
+claim on the respect of the learned and severe, or sacrificing his own
+artistic conscience and individuality. Such a composer is Ethelbert
+Nevin.
+
+His published writings have been altogether along the smaller lines of
+composition, and he has won an enviable place as a fervent worker in
+diamonds. None of his gems are paste, and a few have a perfection, a
+solidity, and a fire that fit them for a place in that coronet one
+might fancy made up of the richest of the jewels of the world's
+music-makers, and fashioned for the very brows of the Muse herself.
+
+[Illustration: Autograph of Ethelbert Nevin]
+
+Nevin was born in 1862, at Vineacre, on the banks of the Ohio, a few
+miles from Pittsburgh. There he spent the first sixteen years of his
+life, and received all his schooling, most of it from his father,
+Robert P. Nevin, editor and proprietor of a Pittsburgh newspaper, and
+a contributor to many magazines. It is interesting to note that he
+also composed several campaign songs, among them the popular "Our
+Nominee," used in the day of James K. Polk's candidacy. The first
+grand piano ever taken across the Allegheny Mountains was carted over
+for Nevin's mother.
+
+From his earliest infancy Nevin was musically inclined, and, at the
+age of four, was often taken from his cradle to play for admiring
+visitors. To make up for the deficiency of his little legs, he used to
+pile cushions on the pedals so that he might manipulate them from
+afar.
+
+Nevin's father provided for his son both vocal and instrumental
+instruction, even taking him abroad for two years of travel and music
+study in Dresden under Von Böhme. Later he studied the piano for two
+years at Boston, under B.J. Lang, and composition under Stephen A.
+Emery, whose little primer on harmony has been to American music
+almost what Webster's spelling-book was to our letters.
+
+At the end of two years he went to Pittsburgh, where he gave lessons,
+and saved money enough to take him to Berlin. There he spent the
+years 1884, 1885, and 1886, placing himself in the hands of Karl
+Klindworth. Of him Nevin says: "To Herr Klindworth I owe everything
+that has come to me in my musical life. He was a devoted teacher, and
+his patience was tireless. His endeavor was not only to develop the
+student from a musical standpoint, but to enlarge his soul in every
+way. To do this, he tried to teach one to appreciate and to feel the
+influence of such great minds of literature as Goethe, Schiller, and
+Shakespeare. He used to insist that a man does not become a musician
+by practising so many hours a day at the piano, but by absorbing an
+influence from all the arts and all the interests of life, from
+architecture, painting, and even politics."
+
+The effect of such broad training--enjoyed rarely enough by music
+students--is very evident in Nevin's compositions. They are never
+narrow or provincial. They are the outpourings of a soul that is not
+only intense in its activities, but is refined and cultivated in its
+expressions. This effect is seen, too, in the poems Nevin chooses to
+set to music,--they are almost without exception verses of literary
+finish and value. His cosmopolitanism is also remarkable, his songs in
+French, German, and Italian having no trace of Yankee accent and a
+great fidelity to their several races.
+
+In 1885, Hans von Bülow incorporated the best four pupils of his
+friend, Klindworth, into an artist class, which he drilled personally.
+Nevin was one of the honored four, and appeared at the unique public
+_Zuhören_ of that year, devoted exclusively to the works of Brahms,
+Liszt, and Raff. Among the forty or fifty studious listeners at these
+recitals, Frau Cosima Wagner, the violinist Joachim, and many other
+celebrities were frequently present.
+
+Nevin returned to America in 1887, and took up his residence in
+Boston, where he taught and played at occasional concerts.
+
+Eighteen hundred and ninety-two found him in Paris, where he taught,
+winning more pupils than here. He was especially happy in imparting to
+singers the proper _Auffassung_ (grasp, interpretation, finish) of
+songs, and coached many American and French artists for the operatic
+stage. In 1893 the restless troubadour moved on to Berlin, where he
+devoted himself so ardently to composition that his health collapsed,
+and he was exiled a year to Algiers. The early months of 1895 he
+spent in concert tours through this country. As Klindworth said of
+him, "he has a touch that brings tears," and it is in interpretation
+rather than in bravura that he excels. He plays with that unusual
+combination of elegance and fervor that so individualizes his
+composition.
+
+Desirous of finding solitude and atmosphere for composition, he took
+up his residence in Florence, where he composed his suite, "May in
+Tuscany" (op. 21). The "Arlecchino" of this work has much
+sprightliness, and shows the influence of Schumann, who made the
+harlequin particularly his own; but there is none of Chopin's
+nocturnity in the "Notturno," which presents the sussurus and the
+moonlit, amorous company of "Boccaccio's Villa." The suite includes a
+"Misericordia" depicting a midnight cortège along the Arno, and
+modelled on Chopin's funeral march in structure with its hoarse dirge
+and its rich cantilena. The best number of the suite is surely the
+"Rusignuolo," an exceedingly fluty bird-song.
+
+From Florence, Nevin went to Venice, where he lived in an old _casa_
+on the Grand Canal, opposite the Browning palazzo, and near the house
+where Wagner wrote "Tristan und Isolde." One day his man, Guido, took
+a day off, and brought to Venice an Italian sweetheart, who had lived
+a few miles from the old dream-city and had never visited it. The day
+these two spent gondoliering through the waterways, where romance
+hides in every nook, is imaginatively narrated in tone in Nevin's
+suite, "Un Giorno in Venezia," a book more handsomely published even
+than the others of his works, which have been among the earliest to
+throw off the disgraceful weeds of type and design formerly worn by
+native compositions.
+
+The Venetian suite gains a distinctly Italian color from its
+ingenuously sweet harmonies in thirds and sixths, and its frankly
+lyric nature, and "The Day in Venice" begins logically with the dawn,
+which is ushered in with pink and stealthy harmonies, then "The
+Gondoliers" have a morning mood of gaiety that makes a charming
+composition. There is a "Canzone Amorosa" of deep fervor, with
+interjections of "Io t'amo!" and "Amore" (which has the excellent
+authority of Beethoven's Sonata, op. 81, with its "Lebe wohl"). The
+suite ends deliciously with a night scene in Venice, beginning with a
+choral "Ave Maria," and ending with a campanella of the utmost
+delicacy.
+
+After a year in Venice Nevin made Paris his home for a year,
+returning to America then, where he has since remained.
+
+Though he has dabbled somewhat in orchestration, he has been wisely
+devoting his genius, with an almost Chopin-like singleness of mind, to
+songs and piano pieces. His piano works are what would be called
+_morceaux_. He has never written a sonata, or anything approaching the
+classical forms, nearer than a gavotte or two. He is very modern in
+his harmonies, the favorite colors on his palette being the warmer
+keys, which are constantly blended enharmonically. He "swims in a sea
+of tone," being particularly fond of those suspensions and inversions
+in which the intervals of the second clash passionately, strongly
+compelling resolution. For all his gracefulness and lyricism, he makes
+a sturdy and constant use of dissonance; in his song "Herbstgefühl"
+the dissonance is fearlessly defiant of conventions.
+
+[Music:
+
+    ... Rose
+    Löset lebenssatt.
+    Sich, das letzte lose,
+    Bleiche Blumenblatt.
+    Goldenes entfärben,
+    Schleicht sich durch den Hain,
+    Auch vergeh'n und sterben,
+    Däucht mir süss zu sein.
+
+    ... failing,
+    From the rose unbound,
+    Falls, its life exhaling,
+    Dead upon the ground.
+    Golden colors flying,
+    Slant from tree to tree;
+    Such release and dying,
+    Sweet would seem to me.
+
+Copyright, 1889, by G. Schirmer, Jr.
+
+A FRAGMENT FROM "HERBSTGEFÜHL."]
+
+Nevin's songs, whose only littleness is in their length, though
+treated with notable individuality, are founded in principle on the
+_Lieder_ of Schumann and Franz. That is to say, they are written with
+a high poetical feeling inspired by the verses they sing, and, while
+melodious enough to justify them as lyrics, yet are near enough to
+impassioned recitative to do justice to the words on which they are
+built. Nevin is also an enthusiastic devotee of the position these
+masters, after Schubert, took on the question of the accompaniment.
+This is no longer a slavish thumping of a few chords, now and then,
+to keep the voice on the key, with outbursts of real expression only
+at the interludes; but it is a free instrumental composition with a
+meaning of its own and an integral value, truly accompanying, not
+merely supporting and serving, the voice. Indeed, one of Nevin's best
+songs,--"Lehn deine Wang an meine Wang,"--is actually little more than
+a vocal accompaniment to a piano solo. His accompaniments are always
+richly colored and generally individualized with a strong
+contramelody, a descending chromatic scale in octaves making an
+especially frequent appearance. Design, though not classical, is
+always present and distinct.
+
+Nevin's first published work was a modest "Serenade," with a neat
+touch of syncopation, which he wrote at the age of eighteen. His
+"Sketch-Book," a collection of thirteen songs and piano pieces found
+an immediate and remarkable sale that has removed the ban formerly
+existing over books of native compositions.
+
+The contents of the "Sketch-Book" display unusual versatility. It
+opens with a bright gavotte, in which adherence to the classic spirit
+compels a certain reminiscence of tone. The second piece, a song, "I'
+the Wondrous Month o' May," has such a springtide fire and frenzy in
+the turbulent accompaniment, and such a fervent reiterance, that it
+becomes, in my opinion, the best of all the settings of this poem of
+Heine's, not excluding even Schumann's or that of Franz. The "Love
+Song," though a piano solo, is in reality a duet between two lovers.
+It is to me finer than Henselt's perfect "Liebeslied," possibly
+because the ravishing sweetness of the woman's voice answering the
+sombre plea of the man gives it a double claim on the heart. The
+setting of "Du bist wie eine Blume," however, hardly does justice
+either to Heine's poem, or to Nevin's art. The "Serenade" is an
+original bit of work, but the song, "Oh, that We Two were Maying!"
+with a voice in the accompaniment making it the duet it should
+be,--that song can have no higher praise than this, that it is the
+complete, the final musical fulfilment of one of the rarest lyrics in
+our language. A striking contrast to the keen white regret of this
+song is the setting of a group of "Children's Songs," by Robert Louis
+Stevenson. Nevin's child-songs have a peculiar and charming place. He
+has not been stingy of either his abundant art or his abundant
+humanity in writing them. They include four of Stevenson's, the best
+being the captivating "In Winter I get up at Night," and a setting of
+Eugene Field's "Little Boy Blue," in which a trumpet figure is used
+with delicate pathos.
+
+Nevin's third opus included three exquisite songs of a pastoral
+nature, Goethe's rollicking "One Spring Morning" having an immense
+sale. Opus 5 contained five songs, of which the ecstatic "'Twas April"
+reached the largest popularity. Possibly the smallest sale was enjoyed
+by "Herbstgefühl." Many years have not availed to shake my allegiance
+to this song, as one of the noblest songs in the world's music. It is
+to me, in all soberness, as great as the greatest of the _Lieder_ of
+Schubert, Schumann or Franz. In "Herbstgefühl" (or "Autumn-mood")
+Gerok's superb poem bewails the death of the leaves and the failing of
+the year, and cries out in sympathy:
+
+    "Such release and dying
+    Sweet would seem to me!"
+
+Deeper passion and wilder despair could not be crowded into so short a
+song, and the whole brief tragedy is wrought with a grandeur and
+climax positively epic. It is a flash of sheer genius.
+
+Three piano duets make up opus 6; and other charming works, songs,
+piano pieces, and violin solos, kept pouring from a pen whose apparent
+ease concealed a vast deal of studious labor, until the lucky 13, the
+opus-number of a bundle of "Water Scenes," brought Nevin the greatest
+popularity of all, thanks largely to "Narcissus," which has been as
+much thrummed and whistled as any topical song.
+
+Of the other "Water Scenes," there is a shimmering "Dragon Fly," a
+monody, "Ophelia," with a pedal-point of two periods on the tonic, and
+a fluent "Barcarolle" with a deal of high-colored virtuosity.
+
+His book "In Arcady" (1892) contains pastoral scenes, notably an
+infectious romp that deserves its legend, "They danced as though they
+never would grow old." The next year his opus 20, "A Book of Songs,"
+was published. It contains, among other things of merit, a lullaby,
+called "Sleep, Little Tulip," with a remarkably artistic and effective
+pedal-point on two notes (the submediant and the dominant) sustained
+through the entire song with a fine fidelity to the words and the
+lullaby spirit; a "Nocturne" in which Nevin has revealed an
+unsuspected voluptuousness in Mr. Aldrich' little lyric, and has
+written a song of irresistible climaxes. The two songs, "Dîtes-Moi"
+and "In der Nacht," each so completely true to the idiom of the
+language of its poem, are typical of Nevin's cosmopolitanism, referred
+to before. This same unusual ability is seen in his piano pieces as
+well as in his songs. He knows the difference between a _chanson_ and
+a _Lied_, and in "Rechte Zeit" has written with truth to German
+soldierliness as he has been sympathetic with French nuance in "Le
+Vase Brisé," the effective song "Mon Desire," which in profile
+suggests Saint-Saëns' familiar Delilah-song, the striking "Chanson des
+Lavandières" and "Rapelle-Toi," one of Nevin's most elaborate works,
+in which Alfred De Musset's verse is splendidly set with much
+enharmonious color. Very Italian, too, is the "Serenade" with
+accompaniment à la mandolin, which is the most fetching number in the
+suite "Captive Memories," published in 1899.
+
+Nevin has also put many an English song to music, notably the deeply
+sincere "At Twilight," the strenuous lilt "In a Bower," Bourdillon's
+beautiful lyric, "Before the Daybreak," the smooth and unhackneyed
+treatment of the difficult stanza of "'Twas April," that popular song,
+"One Spring Morning," which has not yet had all the charm sung out of
+it, and two songs with obbligati for violin and 'cello, "Deep in the
+Rose's Glowing Heart" and "Doris," a song with a finely studied
+accompaniment and an aroma of Theokritos.
+
+A suite for the piano is "En Passant," published in 1899; it ranges
+from a stately old dance, "At Fontainebleau," to "Napoli," a furious
+tarantelle with effective _glissandi_; "In Dreamland" is a most
+delicious revery with an odd repetition that is not preludatory, but
+thematic. The suite ends with the most poetic scene of all, "At Home,"
+which makes a tone poem of Richard Hovey's word-picture of a June
+night in Washington. The depicting of the Southern moonlight-balm,
+with its interlude of a distant and drowsy negro quartette, reminds
+one pleasantly of Chopin's Nocturne (op. 37, No. 1), with its
+intermezzo of choric monks, though the composition is Nevin's very own
+in spirit and treatment.
+
+In addition to the works catalogued, Nevin has written a pantomime for
+piano and orchestra to the libretto of that virtuoso in English, Vance
+Thompson; it was called "Lady Floriane's Dream," and was given in New
+York in 1898. Nevin has also a cantata in making.
+
+It needs no very intimate acquaintance with Nevin's music to see that
+it is not based on an adoration for counterpoint as an end. He
+believes that true music must come from the emotions--the intelligent
+emotions--and that when it cannot appeal to the emotions it has lost
+its power. He says: "Above everything we need melody--melody and
+rhythm. Rhythm is the great thing. We have it in Nature. The trees
+sway, and our steps keep time, and our very souls respond." In
+Wagner's "Meistersinger," which he calls "a symphonic poem with
+action," Nevin finds his musical creed and his model.
+
+And now, if authority is needed for all this frankly enthusiastic
+admiration, let it be found in and echoed from Karl Klindworth, who
+said of Nevin: "His talent is _ungeheures_ [one of the strongest
+adjectives in the German language]. If he works hard and is
+conscientious, he can say for the musical world something that no one
+else can say."
+
+
+_John Philip Sousa._
+
+[Illustration: Autograph of John Philip Sousa]
+
+[Illustration: JOHN PHILIP SOUSA.]
+
+In common with most of those that pretend to love serious music, a
+certain person was for long guilty of the pitiful snobbery of rating
+march-tunes as the lowest form of the art. But one day he joined a
+National Guard regiment, and his first long march was that
+heart-breaking dress-parade of about fifteen miles through the wind
+and dust of the day Grant's monument was dedicated. Most of the music
+played by the band was merely rhythmical embroidery, chiefly in bugle
+figures, as helpful as a Clementi sonatina; but now and then there
+would break forth a magic elixir of tune that fairly plucked his feet
+up for him, put marrow in unwilling bones, and replaced the dreary
+doggedness of the heart with a great zest for progress, a stout
+martial fire, and a fierce _esprit de corps_; with patriotism indeed.
+In almost every case, that march belonged to one John Philip Sousa.
+
+It came upon this wretch then, that, if it is a worthy ambition in a
+composer to give voice to passionate love-ditties, or vague
+contemplation, or the deep despair of a funeral cortège, it is also a
+very great thing to instil courage, and furnish an inspiration that
+will send men gladly, proudly, and gloriously through hardships into
+battle and death. This last has been the office of the march-tune, and
+it is as susceptible of structural logic or embellishments as the
+fugue, rondo, or what not. These architectural qualities Sousa's
+marches have in high degree, as any one will find that examines their
+scores or listens analytically. They have the further merit of
+distinct individuality, and the supreme merit of founding a school.
+
+It is only the plain truth to say that Sousa's marches have founded a
+school; that he has indeed revolutionized march-music. His career
+resembles that of Johann Strauss in many ways. A certain body of old
+fogies has always presumed to deride the rapturous waltzes of
+Strauss, though they have won enthusiastic praise from even the
+esoteric Brahms, and gained from Wagner such words as these: "One
+Strauss waltz overshadows, in respect to animation, finesse, and real
+musical worth, most of the mechanical, borrowed, factory-made products
+of the present time." The same words might be applied to Sousa's
+marches with equal justice. They have served also for dance music, and
+the two-step, borne into vogue by Sousa's music, has driven the waltz
+almost into desuetude.
+
+There is probably no composer in the world with a popularity equal to
+that of Sousa. Though he sold his "Washington Post" march outright for
+$35, his "Liberty Bell" march is said to have brought him $35,000. It
+is found that his music has been sold to eighteen thousand bands in
+the United States alone. The amazing thing is to learn that there are
+so many bands in the country. Sousa's marches have appeared on
+programs in all parts of the civilized world. At the Queen's Jubilee,
+when the Queen stepped forward to begin the grand review of the
+troops, the combined bands of the household brigade struck up the
+"Washington Post." On other important occasions it appeared constantly
+as the chief march of the week. General Miles heard the marches played
+in Turkey by the military bands in the reviews.
+
+The reason for this overwhelming appeal to the hearts of a planet is
+not far to seek. The music is conceived in a spirit of high martial
+zest. It is proud and gay and fierce, thrilled and thrilling with
+triumph. Like all great music it is made up of simple elements, woven
+together by a strong personality. It is not difficult now to write
+something that sounds more or less like a Sousa march, any more than
+it is difficult to write parodies, serious or otherwise, on Beethoven,
+Mozart, or Chopin. The glory of Sousa is that he was the first to
+write in this style; that he has made himself a style; that he has so
+stirred the musical world that countless imitations have sprung up
+after him.
+
+The individuality of the Sousa march is this, that, unlike most of the
+other influential marches, it is not so much a musical exhortation
+from without, as a distillation of the essences of soldiering from
+within. Sousa's marches are not based upon music-room enthusiasms, but
+on his own wide experiences of the feelings of men who march together
+in the open field.
+
+And so his band music expresses all the nuances of the military
+psychology: the exhilaration of the long unisonal stride, the grip on
+the musket, the pride in the regimentals and the regiment,--_esprit de
+corps_. He expresses the inevitable foppery of the severest soldier,
+the tease and the taunt of the evolutions, the fierce wish that all
+this ploying and deploying were in the face of an actual enemy, the
+mania to reek upon a tangible foe all the joyous energy, the
+blood-thirst of the warrior.
+
+These things Sousa embodies in his music as no other music writer ever
+has. To approach Sousa's work in the right mood, the music critic must
+leave his stuffy concert hall and his sober black; he must flee from
+the press, don a uniform, and march. After his legs and spirits have
+grown aweary under the metronomic tunes of others, let him note the
+surge of blood in his heart and the rejuvenation of all his muscles
+when the brasses flare into a barbaric Sousa march. No man that
+marches can ever feel anything but gratitude and homage for Sousa.
+
+Of course he is a trickster at times; admitted that he stoops to
+conquer at times, yet in his field he is supreme. He is worthy of
+serious consideration, because his thematic material is almost always
+novel and forceful, and his instrumentation full of contrast and
+climax. He is not to be judged by the piano versions of his works,
+because they are abominably thin and inadequate, and they are not
+_klaviermässig_. There should be a Liszt or a Taussig to transcribe
+him.
+
+When all's said and done, Sousa is the pulse of the nation, and in
+war of more inspiration and power to our armies than ten colonels with
+ten braw regiments behind them.
+
+Like Strauss', Mr. Sousa's father was a musician who forbade his son
+to devote himself to dance music. As Strauss' mother enabled him
+secretly to work out his own salvation, so did Sousa's mother help
+him. Sousa's father was a political exile from Spain, and earned a
+precarious livelihood by playing a trombone in the very band at
+Washington which later became his son's stepping-stone to fame. Sousa
+was born at Washington in 1859. His mother is German, and Sousa's
+music shows the effect of Spanish yeast in sturdy German rye bread.
+Sousa's teachers were John Esputa and George Felix Benkert. The latter
+Mr. Sousa considers one of the most complete musicians this country
+has ever known. He put him through such a thorough theoretical
+training, that at fifteen Sousa was teaching harmony. At eight he had
+begun to earn his own living as a violin player at a dancing-school,
+and at ten he was a public soloist. At sixteen he was the conductor of
+an orchestra in a variety theatre. Two years later he was musical
+director of a travelling company in Mr. Milton Nobles' well-known
+play, "The Phoenix," for which he composed the incidental music.
+Among other incidents in a career of growing importance was a position
+in the orchestra with which Offenbach toured this country. At the age
+of twenty-six, after having played, with face blacked, as a negro
+minstrel, after travelling with the late Matt Morgan's Living Picture
+Company, and working his way through and above other such experiences
+in the struggle for life, Sousa became the leader of the United States
+Marine Band. In the twelve years of his leadership he developed this
+unimportant organization into one of the best military bands in the
+world.
+
+In 1892 his leadership had given him such fame that he withdrew from
+the government service to take the leadership of the band carrying his
+own name.
+
+A work of enormous industry was his collection and arrangement, by
+governmental order, of the national and typical tunes of all nations
+into one volume, an invaluable book of reference.
+
+Out of the more than two hundred published compositions by Sousa, it
+is not possible to mention many here. Though some of the names are not
+happily chosen, they call up many episodes of parade gaiety and
+jauntiness, or warlike fire. The "Liberty Bell," "Directorate," "High
+School Cadets," "King Cotton," "Manhattan Beach," "'Sound Off!'"
+"Washington Post," "Picador," and others, are all stirring works; his
+best, I think, is a deeply patriotic march, "The Stars and Stripes
+Forever." The second part of this has some brass work of particular
+originality and vim.
+
+In manuscript are a few works of larger form: a symphonic poem, "The
+Chariot Race," an historical scene, "Sheridan's Ride," and two suites,
+"Three Quotations" and "The Last Days of Pompeii."
+
+The "Three Quotations" are:
+
+    (_a_) "The King of France, with twenty thousand men,
+          Marched up a hill and then marched down again,"
+
+which is the motive for a delightful scherzo-march of much humor in
+instrumentation;
+
+    (_b_) "And I, too, was born in Arcadia,"
+
+which is a pastorale with delicious touches of extreme delicacy;
+
+    (_c_) "In Darkest Africa,"
+
+which has a stunning beginning and is a stirring grotesque in the
+negro manner Dvôrák advised Americans to cultivate. All three are well
+arranged for the piano.
+
+The second suite is based on "The Last Days of Pompeii." It opens with
+a drunken revel, "In the House of Burbo and Stratonice;" the bulky
+brutishness of the gladiators clamoring for wine, a jolly
+drinking-song, and a dance by a jingling clown make up a superbly
+written number. The second movement is named "Nydia," and represents
+the pathetic reveries of the blind girl; it is tender and quiet
+throughout.
+
+The third movement is at once daring and masterly. It boldly attacks
+"The Destruction," and attains real heights of graphic suggestion. A
+long, almost inaudible roll on the drums, with occasional thuds,
+heralds the coming of the earthquake; subterranean rumblings, sharp
+rushes of tremor, toppling stones, and wild panic are insinuated
+vividly, with no cheap attempts at actual imitation. The roaring of
+the terrified lion is heard, and, best touch of all, under the fury of
+the scene persists the calm chant of the Nazarenes, written in one of
+the ancient modes. The rout gives way to the sea-voyage of Glaucus and
+Ione, and Nydia's swan-song dies away in the gentle splash of ripples.
+The work is altogether one of superb imagination and scholarly
+achievement.
+
+Sousa, appealing as he does to an audience chiefly of the popular
+sort, makes frequent use of devices shocking to the conventional. But
+even in this he is impelled by the enthusiasm of an experimenter and a
+developer. Almost every unconventional novelty is hooted at in the
+arts. But the sensationalism of to-day is the conservatism of
+to-morrow, and the chief difference between a touch of high art and a
+trick is that the former succeeds and the latter does not. Both are
+likely to have a common origin.
+
+The good thing is that Sousa is actuated by the spirit of progress and
+experiment, and has carried on the development of the military band
+begun by the late Patrick S. Gilmore. Sousa's concert programs devote
+what is in fact the greater part of their space to music by the very
+best composers. These, of course, lose something in being translated
+over to the military band, but their effect in raising the popular
+standard of musical culture cannot but be immense. Through such
+instrumentality much of Wagner is as truly popular as any music
+played. The active agents of such a result should receive the
+heartiest support from every one sincerely interested in turning the
+people toward the best things in music. Incidentally, it is well to
+admit that while a cheap march-tune is almost as trashy as an
+uninspired symphony, a good march-tune is one of the best things in
+the best music.
+
+Though chiefly known as a writer of marches, in which he has won glory
+enough for the average human ambition, Sousa has also taken a large
+place in American comic opera. His first piece, "The Smugglers," was
+produced in 1879, and scored the usual failure of a first work. His
+"Katherine" was never produced, his "Desirée" was brought out in 1884
+by the McCaull Opera Company, and his "Queen of Hearts," a one-act
+piece, was given two years later. He forsook opera then for ten years;
+but in 1896 De Wolf Hopper produced his "El Capitan" with great
+success.
+
+The chief tune of the piece was a march used with Meyerbeerian
+effectiveness to bring down the curtain. The stout verve of this "El
+Capitan" march gave it a large vogue outside the opera. Hopper next
+produced "The Charlatan," a work bordering upon opéra comique in its
+first version. Both of these works scored even larger success in
+London than at home.
+
+[Music: Used by permission of the John Church Company, owners of the
+copyright.
+
+A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA.]
+
+In "The Bride Elect," Sousa wrote his own libretto, and while there
+was the usual stirring march as the pièce de resistance, the work as a
+whole was less clangorous of the cymbal than the operas of many a
+tamer composer. In "Chris and the Wonderful Lamp," an extravaganza,
+the chief ensemble was worked up from a previous march, "Hands Across
+the Sea."
+
+But Sousa can write other things than marches, and his scoring is full
+of variety, freedom, and contrapuntal brilliance.
+
+
+_Henry Schoenefeld._
+
+[Illustration: HENRY SCHOENEFELD.]
+
+Long before Dvôrák discovered America, we aboriginals had been trying
+to invent a national musical dialect which should identify us as
+completely to the foreigner as our nasal intonation and our fondness
+for the correct and venerable use of the word "guess." But Dvôrák is
+to credit for taking the problem off the shelf, and persuading our
+composers to think. I cannot coax myself into the enthusiasm some have
+felt for Dvôrák's own explorations in darkest Africa. His quartette
+(op. 96) and his "New World" symphony are about as full of accent and
+infidelity as Mlle. Yvette Guilbert's picturesque efforts to sing in
+English. But almost anything is better than the phlegm that says, "The
+old ways are good enough for all time;" and the Bohemian missionary
+must always hold a place in the chronicle of American music.
+
+A disciple of Dvôrák's, both in advance and in retrospect, is Henry
+Schoenefeld, who wrote a characteristic suite (op. 15) before the
+Dvôrákian invasion, and an overture, "In the Sunny South," afterward.
+The suite, which has been played frequently abroad, winning the
+praises of Hanslick, Nicodé, and Rubinstein, is scored for string
+orchestra. It opens with an overly reminiscent waltz-tune, and ends
+conventionally, but it contains a movement in negro-tone that gives it
+importance. In this the strings are abetted by a tambourine, a
+triangle, and a gong. It is in march-time, and, after a staccato
+prelude, begins with a catchy air taken by the second violins, while
+the firsts, divided, fill up the chords. A slower theme follows in the
+tonic major; it is a jollificational air, dancing from the first
+violins with a bright use of harmonics. Two periods of loud chorale
+appear with the gong clanging (to hint a church-bell, perhaps). The
+first two themes return and end the picture.
+
+The overture (op. 22) has won the high esteem of A.J. Goodrich, and
+it seems to me to be one of the most important of native works, not
+because of its nigrescence, but because of its spontaneity therein. It
+adds to the usual instruments only the piccolo, the English horn, the
+tambourine, and triangle and cymbals. The slow introduction gives
+forth an original theme in the most approved and most fetching darky
+pattern. The strings announce it, and the wood replies. The flutes and
+clarinets toss it in a blanket furnished by an interesting passage in
+the 'cellos and contrabasses. There is a choral moment from the English
+horn, the bassoons, and a clarinet. This solemn thought keeps
+recurring parenthetically through the general gaiety. The first
+subject clatters in, the second is even more jubilant. In the
+development a dance _misterioso_ is used with faithful screaming
+repetitions, and the work ends regularly and brilliantly. There is
+much syncopation, though nothing that is strictly in "rag-time;"
+banjo-figurations are freely and ingeniously employed, and the whole
+is a splendid fiction in local color. Schoenefeld's negroes do not
+speak Bohemian.
+
+His determined nationalism is responsible for his festival overture,
+"The American Flag," based on his own setting of Rodman Drake's
+familiar poem. The work opens with the hymn blaring loudly from the
+antiphonal brass and wood. The subjects are taken from it with much
+thematic skill, and handled artfully, but the hymn, which appears in
+full force for coda, is as trite as the most of its kith.
+
+Schoenefeld was born in Milwaukee, in 1857. His father was a musician,
+and his teacher for some years. At the age of seventeen Schoenefeld
+went to Leipzig, where he spent three years, studying under Reinecke,
+Coccius, Papperitz, and Grill. A large choral and orchestral work was
+awarded a prize over many competitors, and performed at the Gewandhaus
+concerts, the composer conducting. Thereafter he went to Weimar, where
+he studied under Edward Lassen.
+
+In 1879 he came back to America, and took up his residence in Chicago,
+where he has since lived as a teacher, orchestra leader, and composer.
+He has for many years directed the Germania Männerchor.
+
+Schoenefeld's "Rural Symphony" was awarded the $500 prize offered by
+the National Conservatory. Dvôrák was the chairman of the Committee on
+Award, and gave Schoenefeld hearty compliments. Later works are: "Die
+drei Indianer," an ode for male chorus, solo, and orchestra; a most
+beautiful "Air" for orchestra (the air being taken by most of the
+strings,--the first violins haunting the G string,--while a harp and
+three flutes carry the burden of the accompaniment gracefully); a
+pleasant "Reverie" for string orchestra, harp, and organ; and two
+impromptus for string orchestra, a "Meditation" representing Cordelia
+brooding tenderly over the slumbering King Lear,--art ministering very
+tenderly to the mood,--and a cleverly woven "Valse Noble."
+
+Only a few of Schoenefeld's works are published, all of them piano
+pieces. It is no slur upon his orchestral glory to say that these are
+for the most part unimportant, except the excellent "Impromptu" and
+"Prelude." Of the eight numbers in "The Festival," for children, only
+the "Mazurka" is likely to make even the smallest child think. The
+"Kleine Tanz Suite" is better. The six children's pieces of opus 41,
+"Mysteries of the Wood," make considerable appeal to the fancy and
+imagination, and are highly interesting. They show Grieg's influence
+very plainly, and are quite worth recommending. This cannot be said of
+his most inelegant "Valse Élégante," or of his numerous dances,
+except, perhaps, his "Valse Caprice."
+
+He won in July, 1899, the prize offered to American composers by Henri
+Marteau, for a sonata for violin and piano. The jury was composed of
+such men as Dubois, Pierné, Diemer, and Pugno. The sonata is _quasi
+fantasia_, and begins strongly with an evident intention to make use
+of negro-tone. The first subject is so vigorously declared that one is
+surprised to find that it is elastic enough to express a sweet pathos
+and a deep gloom. It is rather fully developed before the second
+subject enters; this, on the other hand, is hardly insinuated in its
+relative major before the rather inelaborate elaboration begins. In
+the romanza, syncopation and imitation are much relied on, though the
+general atmosphere is that of a nocturne, a trio of dance-like manner
+breaking in. The final rondo combines a clog with a choral intermezzo.
+The work is noteworthy for its deep sincerity and great lyric beauty.
+
+
+_Maurice Arnold._
+
+The plantation dances of Maurice Arnold have an intrinsic interest
+quite aside from their intrinsic value. Arnold, whose full name is
+Maurice Arnold-Strothotte, was born in St. Louis in 1865. His mother
+was a prominent pianist and gave him his first lessons in music. At
+the age of fifteen he went to Cincinnati, studying at the College of
+Music for three years. In 1883 he went to Germany to study
+counterpoint and composition with Vierling and Urban in Berlin. The
+latter discouraged him when he attempted to imbue a suite with a negro
+plantation spirit.
+
+Arnold now went upon a tramping tour in Hungary, Bulgaria, and Turkey.
+Some of his compositions show the influence of his journey. He then
+entered the Cologne Conservatory, studying under Wuellner, Neitzel,
+and G. Jensen. His first piano sonata was performed there at a public
+concert. He next went to Breslau, where, under the instruction of Max
+Bruch, he wrote his cantata, "The Wild Chase," and gave public
+performance to other orchestral work. Returning now to St. Louis, he
+busied himself as solo violinist and teacher, travelling also as a
+conductor of opera companies. When Dvôrák came here Arnold wrote his
+"Plantation Dances," which were produced in a concert under the
+auspices of the Bohemian composer. Arnold was instructor of harmony at
+the National Conservatory under Dvôrák.
+
+The "Plantation Dances" are Arnold's thirty-third opus, and they have
+been much played by orchestras; they are also published as a piano
+duet; the second dance also as a solo. Arnold has not made direct use
+of Ethiopian themes, but has sought the African spirit. The first of
+the dances is very nigresque; the second hardly at all, though it is a
+delicious piece of music; the third dance uses banjo figures and
+realizes darky hilarity in fine style; the fourth is a cake walk and
+hits off the droll humor of that pompous ceremony fascinatingly.
+
+Arnold's "Dramatic Overture" shows a fire and rush very characteristic
+of him and likely to be kept up without sufficient contrast. So also
+does his cantata, "The Wild Chase." Arnold has written two comic
+operas. I have heard parts of the first and noted moments of much
+beauty and humor. The Aragonaise, which opens the third act, is
+particularly delightful. The orchestration throughout displays
+Arnold's characteristic studiousness in picturesque effect.
+
+For piano there is a czardas, and a "Valse Élégante" for eight hands;
+it is more Viennese than Chopinesque. It might indeed be called a
+practicable waltz lavishly adorned. The fruits of Arnold's Oriental
+journey are seen in his impressionistic "Danse de la Midway
+Plaisance;" a very clever reminiscence of a Turkish minstrel; and a
+Turkish march, which has been played by many German orchestras. There
+is a "Caprice Espagnol," which is delightful, and a "Banjoënne," which
+treats banjo music so captivatingly that Arnold may be said to have
+invented a new and fertile and musical form. Besides these there are a
+fugue for eight hands, a "Minstrel Serenade" for violin and piano, and
+six duets for violin and viola.
+
+There are also a few part songs and some solos, among which mention
+should be made of "Ein Märlein," in the old German style, an
+exquisitely tender "Barcarolle," and a setting of the poem, "I Think
+of Thee in Silent Night," which makes use of a particularly beautiful
+phrase for pre-, inter-, and postlude. Arnold has also written some
+ballet music, a tarantelle for string orchestra, and is at work upon a
+symphony, and a book, "Some Points in Modern Orchestration." His
+violin sonata (now in MS.) shows his original talent at its best. In
+the first movement, the first subject is a snappy and taking example
+of negro-tone, the second has the perfume of moonlit magnolia in its
+lyricism. (In the reprise this subject, which had originally appeared
+in the dominant major, recurs in the tonic major, the key of the
+sonata being E minor.) The second movement is also in the darky
+spirit, but full of melancholy. For finale the composer has flown to
+Ireland and written a bully jig full of dash and spirit.
+
+
+_N. Clifford Page._
+
+The influence of Japanese and Chinese art upon our world of decoration
+has long been realized. After considering the amount of interest shown
+in the Celestial music by American composers, one is tempted to
+prophesy a decided influence in this line, and a considerable spread
+of Japanese influence in the world of music also. Japanese music has a
+decorative effect that is sometimes almost as captivating as in
+painting.
+
+The city of San Francisco is the natural gateway for any such impulse,
+and not a little of it has already passed the custom house. In this
+field Edgar S. Kelley's influence is predominating, and it is not
+surprising that he should pass the contagion on to his pupil,
+Nathaniel Clifford Page, who was born in San Francisco, October 26,
+1866. His ancestors were American for many years prior to the
+Revolution. He composed operas at the age of twelve, and has used many
+of these immature ideas with advantage in the later years. He began
+the serious study of music at the age of sixteen, Kelley being his
+principal teacher. His first opera, composed and orchestrated before
+he became of age, was entitled "The First Lieutenant." It was produced
+in 1889 at the Tivoli Opera House in San Francisco, where most of the
+critics spoke highly of its instrumental and Oriental color, some of
+the scenes being laid in Morocco.
+
+In instrumentation, which is considered Page's forte, he has never
+had any instruction further than his own reading and investigation. He
+began to conduct in opera and concert early in life, and has had much
+experience. He has also been active as a teacher in harmony and
+orchestration.
+
+An important phase of Page's writing has been incidental music for
+plays, his greatest success having been achieved by the music for the
+"Moonlight Blossom," a play based upon Japanese life and produced in
+London in 1898. The overture was written entirely on actual Japanese
+themes, including the national anthem of Japan. Page was three weeks
+writing these twelve measures. He had a Japanese fiddle arranged with
+a violin finger-board, but thanks to the highly characteristic
+stubbornness of orchestral players, he was compelled to have this
+part played by a mandolin. Two Japanese drums, a whistle used by a
+Japanese shampooer, and a Japanese guitar were somehow permitted to
+add their accent. The national air is used in augmentation later as
+the bass for a Japanese song called "K Honen." The fidelity of the
+music is proved by the fact that Sir Edwin Arnold's Japanese wife
+recognized the various airs and was carried away by the national
+anthem.
+
+Although the play was not a success, the music was given a cordial
+reception, and brought Page contracts for other work in England,
+including a play of Indian life by Mrs. Flora Annie Steel.
+
+Previously to the writing of the "Moonlight Blossom" music, Page had
+arranged the incidental music for the same author's play, "The Cat
+and the Cherub." Edgar S. Kelley's "Aladdin" music was the source from
+which most of the incidental music was drawn; but Page added some
+things of his own, among them being one of the most effective and
+unexpected devices for producing a sense of horror and dread I have
+ever listened to: simply the sounding at long intervals of two gruff
+single tones in the extreme low register of the double basses and
+bassoons. The grimness of this effect is indescribable.
+
+An unnamed Oriental opera, and an opera called "Villiers," in which
+old English color is employed (including a grotesque dance of the
+clumsy Ironsides), show the cosmopolitan restlessness of Page's muse.
+An appalling scheme of self-amusement is seen in his "Caprice," in
+which a theme of eight measures' length is instrumented with almost
+every contrapuntal device known, and with psychological variety that
+runs through five movements, scherzando, vigoroso, con sentimento,
+religioso, and a marcia fantastico. The suite called "Village Fête" is
+an experiment in French local color. It contains five scenes: The
+Peasants Going to Chapel; The Flower Girls; The Vagabonds; The Tryst;
+The Sabot Dance; and the Entrance of the Mayor, which is a pompous
+march.
+
+On the occasion of a performance of this, Louis Arthur Russell wrote:
+"His orchestra is surely French, and as modern as you please. The
+idiom is Berlioz's rather than Wagner's."
+
+
+
+
+CHAPTER III.
+
+THE ACADEMICS.
+
+
+_John Knowles Paine._
+
+[Illustration: JOHN KNOWLES PAINE.]
+
+[Illustration: Autograph of John K. Paine]
+
+There is one thing better than modernity,--it is immortality. So while
+I am a most ardent devotee of modern movements, because they are at
+worst experiments, and motion is necessary to life, I fail to see why
+it is necessary in picking up something new always to drop something
+old, as if one were an awkward, butter-fingered parcel-carrier.
+
+If a composer writes empty stuff in the latest styles, he is one
+degree better than the purveyor of trite stuff in the old styles; but
+he is nobody before the high thinker who finds himself suited by the
+general methods of the classic writers.
+
+The most classic of our composers is their venerable dean, John
+Knowles Paine. It is an interesting proof of the youth of our native
+school of music, that the principal symphony, "Spring," of our first
+composer of importance, was written only twenty-one years ago. Before
+Mr. Paine there had never been an American music writer worthy of
+serious consideration in the larger forms.
+
+By a mere coincidence Joachim Raff had written a symphony called
+"Spring" in 1878, just a year before Paine finished his in America.
+The first movement in both is called "Nature's Awakening;" such an
+idea is inevitable in any spring composition, from poetry up--or down.
+For a second movement Raff has a wild "Walpurgis Night Revel," while
+Paine has a scherzo called "May Night Fantasy." Where Raff is uncanny
+and fiendish, Paine is cheerful and elfin. The third movement of
+Raff's symphony is called "First Blossoms of Spring," and the last is
+called "The Joys of Wandering." The latter two movements of Mr.
+Paine's symphony are "A Promise of Spring" and "The Glory of Nature."
+The beginning of both symphonies is, of course, a slow introduction
+representing the torpid gloom of winter, out of which spring aspires
+and ascends.
+
+Paine's symphony, though aiming to shape the molten gold of April
+fervor in the rigid mold of the symphonic form, has escaped every
+appearance of mechanism and restraint. It is program music of the most
+legitimate sort, in full accord with Beethoven's canon, "Mehr Ausdruck
+der Empfindung als Malerei." It has no aim of imitating springtime
+noises, but seeks to stimulate by suggestion the hearer's creative
+imagination, and provoke by a musical telepathy the emotions that
+swayed the nympholept composer.
+
+    The first movement of the symphony has an introduction
+    containing two motives distinct from the two subjects of the
+    movement. These motives represent Winter and the Awakening.
+    The Winter motive may be again divided into a chill and icy
+    motif and a rushing wind-motif. Through these the timid
+    Awakening spirit lifts its head like the first trillium of
+    the year. There is a silence and a stealthy flutter of the
+    violins as if a cloud of birds were playing courier to the
+    Spring.
+
+    Suddenly, after a little prelude, as if a bluebird were
+    tuning his throat, we are enveloped in the key of the
+    symphony (A major) and the Spring runs lilting up the 'cellos
+    to the violins (which are divided in the naïf archaic
+    interval of the tenth, too much ignored in our over-colored
+    harmonies). The second subject is propounded by the oboes
+    (in the rather unusual related key of the submediant). This
+    is a lyrical and dancing idea, and it does battle with the
+    underground resistance of the Winter motives. There is an
+    elaborate conclusion of fiercest joy. Its ecstasy droops, and
+    after a little flutter as of little wings, the elaboration
+    opens with the Spring motive in the minor. In this part,
+    scholarship revels in its own luxury, the birds quiver about
+    our heads again, and the reprise begins (in A major of
+    course) with new exultance, the dancing second subject
+    appears (in the tonic), overwhelming the failing strength of
+    the Winter with a cascade of delight. Then the conclusion
+    rushes in; this I consider one of the most joyous themes ever
+    inspired.
+
+    There is a coda of vanishing bird-wings and throats, a
+    pizzicato chord on the strings--and Spring has had her
+    coronation.
+
+    "The May Night Fantasy" is a moonlit revel of elves caught by
+    a musical reporter, a surreptitious "chiel amang 'em takin'
+    notes." A single hobgoblin bassoon croaks ludicrously away,
+    the pixies darkle and flirt and dance their hearts out of
+    them.
+
+    The Romance is in rondo form with love-lorn iteration of
+    themes and intermezzo, and deftest broidery, the whole
+    ending, after a graceful Recollection, in a bliss of harmony.
+
+    The Finale is a halleluiah. It is on the sonata formula,
+    without introduction (the second subject being not in the
+    dominant of A major, but in C major, that chaste, frank key
+    which one of the popes strangely dubbed "lascivious"). The
+    elaboration is frenetic with strife, but the reprise is a
+    many-hued rainbow after storm, and the coda in A major
+    (ending a symphony begun in A minor) is swift with delight.
+
+This symphony has been played much, but not half enough. It should
+resist the weariness of time as immortally as Fletcher's play, "The
+Two Noble Kinsmen" (in which Shakespeare's hand is glorious), for it
+is, to quote that drama, "fresher than May, sweeter than her gold
+buttons on the bough, or all th'enamell'd knacks o' the mead or
+garden."
+
+John Knowles Paine is a name that has been held in long and high
+honor among American composers. He was about the earliest of native
+writers to convince foreign musicians that some good could come out of
+Nazareth.
+
+He was born in Portland, Me., January 9, 1839. He studied music first
+under a local teacher, Kotzschmar, making his début as organist at the
+age of eighteen. A year later he was in Berlin, where for three years
+he studied the organ, composition, instrumentation, and singing under
+Haupt, Wieprecht, and others. He gave several organ concerts in
+Germany, and made a tour in 1865-1866. In February, 1867, his "Mass"
+was given at the Berlin Singakademie, Paine conducting. Then he came
+back to the States, and in 1872 was appointed to an instructorship of
+music at Harvard, whence he was promoted in 1876 to a full
+professorship, a chair created for him and occupied by him ever since
+with distinguished success.
+
+His first symphony was brought out by Theodore Thomas in 1876. This
+and his other orchestral works have been frequently performed at
+various places in this country and abroad.
+
+His only oratorio, "St. Peter," was first produced at Portland in
+1873, and in Boston a year later. It is a work of great power and much
+dramatic strength. Upton, in his valuable work, "Standard Oratorios,"
+calls it "from the highest standpoint the only oratorio yet produced
+in this country."
+
+This oratorio, while containing much of the floridity and repetition
+of Händel at his worst, is also marked with the erudition and
+largeness of Händel at his best. The aria for St. Peter, "O God, My
+God, Forsake Me Not," is especially fine.
+
+A much-played symphonic poem is Paine's "The Tempest," which develops
+musically the chief episodes of Shakespeare's play. He has also
+written a valuable overture to "As You Like It;" he has set Keats'
+"Realm of Fancy" exquisitely, and Milton's "Nativity." And he has
+written a grand opera on a mediæval theme to his own libretto. This is
+a three-act work called "Azara;" the libretto has been published by
+the Riverside Press, and is to be translated into German. This has not
+yet been performed. Being, unfortunately, an American grand opera, it
+takes very little acuteness of foresight to predict a long wait before
+it is ever heard. In it Paine has shown himself more a romanticist
+than a classicist, and the work is said to be full of modernity.
+
+Paine wrote the music for Whittier's "Hymn," used to open the
+Centennial Exposition at Philadelphia, and was fitly chosen to write
+the Columbus March and Hymn for the opening ceremonies of the World's
+Fair, at Chicago, October 21, 1892. This was given by several thousand
+performers under the direction of Theodore Thomas.
+
+A most original and interesting work is the chorus, "Phoebus, Arise."
+It seems good to hark back for words to old William Drummond "of
+Hawthornden." The exquisite flavor of long-since that marks the poetry
+is conserved in the tune. While markedly original, it smacks agreeably
+of the music of Harry Lawes, that nightingale of the seventeenth
+century, whose fancies are too much neglected nowadays.
+
+Paine's strong point is his climaxes, which are never timid, and are
+often positively titanic, thrilling. The climax of this chorus is
+notably superb, and the voices hold for two measures after the
+orchestra finishes. The power of this effect can be easily imagined.
+This work is marked, to an unusual extent, with a sensuousness of
+color.
+
+The year eighteen hundred eighty-one saw the first production of what
+is generally considered Paine's most important composition, and by
+some called the best work by an American,--his setting of the choruses
+of the "Oedipus Tyrannos" of Sophokles. It was written for the
+presentation by Harvard University, and has been sung, in whole or in
+part, very frequently since. This masterpiece of Grecian genius is so
+mighty in conception and so mighty in execution that it has not lost
+power at all in the long centuries since it first thrilled the Greeks.
+To realize its possibilities musically is to give proof enough of the
+very highest order of genius,--a genius akin to that of Sophokles. It
+may be said that in general Paine has completely fulfilled his
+opportunities.
+
+Mendelssohn also set two Greek tragedies to music, Sophokles' "Oedipus
+in Kolonos" and his "Antigone." Mendelssohn is reported to have made a
+first attempt at writing Grecian music, or what we suppose it to be,
+mainly a matter of unison and meagre instrumentation. He was soon
+dissuaded from such a step, however, and wisely. The Greek tragedians,
+really writers of grand opera, made undoubted use of the best musical
+implements and knowledge they had. Creative emotion has its
+prosperity in the minds of its audience, not in the accuracy of its
+mechanism. To secure the effect on us that the Greek tragedians
+produced on contemporary audiences, it is necessary that our music be
+a sublimation along the lines we are accustomed to, as theirs was
+along lines familiar to them and effective with them. Otherwise,
+instead of being moved by the miseries of Oedipus, we should be
+chiefly occupied with amusement at the oddity of the music, and soon
+bored unendurably by its monotony and thinness.
+
+Mendelssohn decided then to use unison frequently for suggestion's
+sake, but not to carry it to a fault. His experiments along these
+lines have been of evident advantage to Paine, who has, however, kept
+strictly to his own individuality, and produced a work that, at its
+highest, reaches a higher plane, in my opinion, than anything in
+Mendelssohn's noble tragedies,--and I am not, at that, one of those
+that affect to look down upon the achievements of the genius that
+built "Elijah."
+
+Paine's prelude is an immense piece of work, in every way larger and
+more elaborate than that to Mendelssohn's "Antigone" (the "Oedipus
+in Kolonos" begins strongly with only one period of thirteen
+measures). The opening chorus of Paine's "Oedipus" is the weakest
+thing in the work. The second strophe has a few good moments, but soon
+falls back into what is impudent enough to be actually catchy!--and
+that, too, of a Lowell Mason, Moody and Sankey catchiness. Curiously
+enough, Mendelssohn's "Antigone" begins with a chorus more like a
+drinking-song than anything else, and the first solo is pure
+_Volkslied_; both of them imbued with a Teutonic flavor that could be
+cut with a knife. In Mendelssohn's "Oedipus in Kolonos," however,
+the music expresses emotion rather than German emotion, and abounds in
+splendors of harmony that are strikingly Wagnerian--in advance.
+
+[Music: Copyright, 1895, by Arthur P. Schmidt.
+
+POSTLUDE TO "OEDIPUS TYRANNUS," BY J.K. PAINE.]
+
+Paine's second chorus describes the imaginary pursuit by Fate of the
+murderer of King Laius. It is full of grim fire, and the second
+strophe is at first simply terrible with awe. Then it degenerates
+somewhat into an arioso, almost Italian. The fourth chorus defends the
+oracles from Jocasta's incredulity. It is written almost in march
+measure, and is full of robor.
+
+At this point in the tragedy, where it begins to transpire to
+Oedipus that he himself was the unwitting murderer and the
+incestuous wretch whose exile the oracle demands before dispelling the
+plague,--here the divine genius of Sophokles introduces a chorus of
+general merriment, somewhat as Shakespeare uses the maundering fool as
+a foil to heighten King Lear's fate. No praise can be too high for
+Paine's music here. Its choric structure is masterly, its spirit is
+running fire. Note, as an instance, the effect at the words "To save
+our land thou didst rise as a tower!" where the music itself is
+suddenly uplift with most effective suggestion.
+
+The sixth chorus shows the effect of Oedipus' divulged guilt and the
+misery of this fool of Fate. The music is an outburst of sheer genius.
+It is overpowering, frightening. The postlude is orchestral, with the
+chorus speaking above the music. Jocasta has hanged herself, Oedipus
+has torn out his own eyes with her brooch. The music is a fitting
+reverie on the great play, and after a wild tumult it subsides in a
+resigned quietude.
+
+From Greek tragedy to Yankee patriotism is a long cry, yet I think
+Paine has not wasted his abilities on his "Song of Promise," written
+for the Cincinnati May Festival of 1888. Though the poem by Mr. George
+E. Woodberry is the very apotheosis of American brag, it has a
+redeeming technic. The music, for soprano solo, mixed chorus, and
+orchestra, reaches the very peaks of inspiration. I doubt if any
+living composer or many dead masters could grow so epic, as most of
+this. In a way it is academic. It shows a little of the influence of
+Wagner,--as any decent music should nowadays. But it is not Wagner's
+music, and it is not trite academia. There is no finicky tinsel and no
+cheap oddity.
+
+Considering the heights at which both words and music aimed, it is
+amazing that they did not fall into utter wreck and nauseating bathos.
+That they have proved so effective shows the sure-footedness of
+genius. It is all good, especially the soprano solo.
+
+This music is exquisite, wondrously exquisite, and it is followed by a
+maestoso e solenne movement of unsurpassable majesty. I have never
+read anything more purely what music should be for grandeur. And it
+praises our ain countree! It might well be taken up by some of our
+countless vocal societies to give a much needed respite to Händel's
+threadbare "Messiah."
+
+When one considers the largeness of the works to which Paine has
+devoted himself chiefly, he can be excused for the meagreness and
+comparative unimportance of his smaller works for piano and vocal
+solo. The only song of his I care for particularly is "A Bird upon a
+Rosy Bough" (op. 40), which is old-fashioned, especially in
+accompaniment, yet at times delicious. The song "Early Spring-time" is
+most curiously original.
+
+Of piano pieces there are a sprightly "Birthday Impromptu" and a fuga
+giocosa, which deals wittily with that theme known generally by the
+words "Over the Fence Is Out!" The "Nocturne" begins like Schumann,
+falls into the style of his second Novellette, thence to the largo of
+Beethoven's Sonata (op. 10, No. 3), thence to Chopinism, wherein it
+ends, an interesting assemblage withal!
+
+A long "Romance" for the piano is marked by some excellent incidents
+and much passion, but it lacks unity. It is the last work in "An Album
+of Pianoforte Pieces," which is otherwise full of rare delights. It is
+made up of opera 25, 26, and 39. Opus 25 contains four characteristic
+pieces,--a "Dance" full of dance-rapture, a most original "Impromptu,"
+and a "Rondo Giocoso," which is just the kind of brilliantly witty
+scherzo whose infrequency in American music is so lamentable and so
+surprising. Opus 26 includes ten sketches, all good, especially
+"Woodnotes," a charming tone-poem, the deliciously simple "Wayside
+Flowers," "Under the Lindens," which is a masterpiece of beautiful
+syncopation, a refreshingly interesting bit in the hackneyed
+"Millstream" form, and a "Village Dance," which has much of that
+quaint flavor that makes Heller's études a perennial delight.
+
+Besides these, there are a number of motets, organ preludes, string
+quartettes, concert pieces for violin, 'cello, piano, and the like, all
+contributing to the furtherance of an august fame.
+
+
+_Dudley Buck._
+
+Music follows the laws of supply and demand just as the other
+necessities of life do. But before a demand could exist for it in its
+more austere and unadulterated forms, the general taste for it must be
+improved. For this purpose the offices of skilful compromisers were
+required, composers who could at the same time please the popular
+taste and teach it discrimination. Among these invaluable workers, a
+high place belongs, in point both of priority and achievement, to
+Dudley Buck. He has been a powerful agent, or reagent, in converting
+the stagnant ferment into a live and wholesome ebullition, or as the
+old Greek evolutionists would say, starting the first progress in the
+primeval ooze of American Philistinism.
+
+A more thoroughly New England ancestry it would be hard to find. The
+founder of the family came over from England soon after the
+_Mayflower_ landed. Buck was named after Governor Dudley of the
+Plymouth Colony. He was born at Hartford, March 10, 1839. His father
+was a prosperous shipping merchant, one of whose boats, during the
+Civil War, towed the _Monitor_ from New York to Fortress Monroe on the
+momentous voyage that destroyed the _Merrimac's_ usefulness.
+
+Buck, though intended for commercial life, borrowed a work on
+thorough-bass and a flute and proceeded to try the wings of his muse.
+A melodeon supplanted the flute, and when he was sixteen he attained
+the glory of a piano, a rare possession in those times. (Would that it
+were rarer now!) He took a few lessons and played a church-organ for a
+salary,--a small thing, but his own.
+
+After reaching the junior year in Trinity College, he prevailed upon
+his parents to surrender him to music, an almost scandalous career in
+the New England mind of that day, still unbleached of its Blue Laws.
+
+At the age of nineteen he went to Leipzig and entered the Conservatory
+there, studying composition under Hauptmann and E.F. Richter,
+orchestration under Rietz, and the piano under Moscheles and Plaidy.
+Later he went to Dresden and studied the organ with Schneider.
+
+After three years in Germany, he studied for a year in Paris, and came
+home, settling down in Hartford as church-organist and teacher. He
+began a series of organ-concert tours lasting fifteen years. He played
+in almost every important city and in many small towns, popularizing
+the best music by that happy fervor of interpretation which alone is
+needed to bring classical compositions home to the public heart. In
+1869 he was called to the "mother-church" of Chicago. In the Chicago
+fire he lost many valuable manuscripts, including a concert overture
+on Drake's exquisite poem, "The Culprit Fay," which must be especially
+regretted. He moved his family to Boston, assuming in ten days the
+position of organist at St. Paul's; and later he accepted charge of
+"the great organ" at Music Hall,--that organ of which Artemus Ward
+wrote so deliciously.
+
+In 1875 Theodore Thomas, whose orchestra had performed many of Buck's
+compositions, invited him to become his assistant conductor at the
+Cincinnati Music Festival and at the last series of concerts at the
+Central Park Garden in New York. Buck accepted and made his home in
+Brooklyn, where he has since remained as organist of the Holy Trinity
+Church, and conductor of the Apollo Club, which he founded and brought
+to a high state of efficiency, writing for it many of his numerous
+compositions for male voices.
+
+Buck's close association with church work has naturally led him
+chiefly into sacred music, and in this class of composition he is by
+many authorities accorded the very highest place among American
+composers. He has also written many organ solos, sonatas, marches, a
+pastorale, a rondo caprice, and many concert transcriptions, as well
+as a group of études for pedal phrasing, and several important
+treatises on various musical topics. His two "Motett Collections" were
+a refreshing relief and inspiration to church choirs thirsty for
+religious Protestant music of some depth and warmth.
+
+In the cantata form Buck also holds a foremost place. In 1876 he was
+honored with a commission to set to music "The Centennial Meditation
+of Columbia," a poem written for the occasion by the Southern poet,
+Sidney Lanier. This was performed at the opening of the Philadelphia
+Exhibition by a chorus of one thousand voices, an organ, and an
+orchestra of two hundred pieces under the direction of Theodore
+Thomas. In 1874 he made a metrical version of "The Legend of Don
+Munio" from Irving's "Alhambra," and set it to music for a small
+orchestra and chorus. Its adaptability to the resources of the vocal
+societies of smaller cities has made it one of his most popular works.
+
+Another bit of Washington Irving is found in Buck's cantata, "The
+Voyage of Columbus," the libretto for which he has taken from Irving's
+"Life of Columbus." It consists of six night-scenes,--"The Chapel of
+St. George at Palos," "On the Deck of the _Santa Maria_," "The Vesper
+Hymn," "Mutiny," "In Distant Andalusia," and "Land and Thanksgiving."
+The opportunities here for Buck's skilful handling of choruses and his
+dramatic feeling in solos are obvious, and the work has been
+frequently used both in this country and in Germany with much success.
+Buck, in fact, made the German libretto as well as the English, and
+has written the words for many of his compositions. His largest work
+was "The Light of Asia," composed in 1885 and based on Sir Edwin
+Arnold's epic. It requires two and one-half hours for performance and
+has met the usual success of Buck's music; it was produced in London
+with such soloists as Nordica, Lloyd, and Santley. It has been
+occasionally given here.
+
+He has found the greater part of his texts in American poetry,
+particularly in Lanier, Stedman, and Longfellow, whose "King Olaf's
+Christmas" and "Nun of Nidaros" he has set to music, as well as his
+"Golden Legend," which won a prize of one thousand dollars at the
+Cincinnati Festival in a large competition. His work is analyzed very
+fully in A.J. Goodrich' "Musical Analysis."
+
+[Music:
+
+    High in the purer air,
+    High as the heart's desire,
+    In a passion of longing and fire,
+    A bird sings sweet and fair;
+    While a sunbeam, cheery and strong,
+    Answers the joy of the song,
+    And Spring, fair Spring is coming!
+
+Copyright, 1893, by G. Schirmer.
+
+FRAGMENT FROM "SPRING'S AWAKENING," BY MR. BUCK.]
+
+Here, as in his symphonic overture to Scott's "Marmion," Buck has
+adopted the Wagnerian idea of the _leit-motif_ as a vivid means of
+distinguishing musically the various characters and their varying
+emotions. His music is not markedly Wagnerian, however, in other
+ways, but seems to show, back of his individuality, an assimilation of
+the good old school of canon and fugue, with an Italian tendency to
+the declamatory and well-rounded melodic period.
+
+It might be wished that in his occasional secular songs Buck had
+followed less in the steps of the Italian aria and the English ballad
+and adopted more of the newer, nobler spirit of the _Lied_ as Schumann
+and Franz represent it, and as many of our younger Americans have done
+with thorough success and not a little of exaltation. Note for
+instance the inadequacy of the old-style balladry to both its own
+opportunity and the otherwise-smothered fire of such a poem as Sidney
+Lanier's "Sunset," which is positively Shakespearean in its passionate
+perfection.
+
+In religious music, however, Mr. Buck has made a niche of its own for
+his music, which it occupies with grace and dignity.
+
+
+_Horatio W. Parker._
+
+[Illustration: Autograph of Horatio W. Parker]
+
+[Illustration: HORATIO W. PARKER.]
+
+When one considers the enormous space occupied by the hymn-tune in New
+England musical activity, it is small wonder that most of its
+composers should display hymnal proclivities. Both Buck and Parker
+are natives of New England.
+
+Parker was born, September 15, 1863, at Auburndale, Mass. His mother
+was his first teacher of music. She was an organist, and gave him a
+thorough technical schooling which won the highest commendation later
+from Rheinberger, who entrusted to him the first performance of a new
+organ concerto. After some study in Boston under Stephen A. Emery,
+John Orth, and G.W. Chadwick, Parker went to Munich at the age of
+eighteen, where he came under the special favor of Rheinberger, and
+where various compositions were performed by the Royal Music School
+orchestra. After three years of Europe, he returned to America and
+assumed the direction of the music at St. Paul's school. He has held
+various posts since, and has been, since 1894, the Battell Professor
+of Music at Yale.
+
+His rather imposing list of works includes a symphony (1885), an
+operetta, a concert overture (1884), an overture, "Regulus" (1885),
+performed in Munich and in London, and an overture, "Count Robert of
+Paris" (1890), performed in New York, a ballad for chorus and
+orchestra, "King Trojan," presented in Munich in 1885, the
+Twenty-third Psalm for female chorus and orchestra (1884), an "Idylle"
+(1891); "The Normans," "The Kobolds," and "Harold Harfager," all for
+chorus and orchestra, and all dated 1891; an oratorio, three or more
+cantatas, and various bits of chamber-music. His opus number has
+already reached forty-three, and it is eked out to a very small degree
+by such imponderous works as organ and piano solos, hymns, and songs.
+In 1893, Parker won the National Conservatory prize for a cantata, and
+in 1898 the McCagg prize for an a cappella chorus.
+
+Parker's piano compositions and secular songs are not numerous. They
+seem rather the incidental byplays and recreations of a fanry chiefly
+turned to sacred music of the larger forms.
+
+Opus 19 consists of "Four Sketches," of which the "Étude Melodieuse"
+is as good as is necessary in that overworked style, wherein a thin
+melody is set about with a thinner ripple of arpeggios. The "Romanza"
+is lyric and delightful, while the "Scherzino" is delicious and crisp
+as celery; it is worthy of Schumann, whom it suggests, and many of
+whose cool tones and mannerisms it borrows.
+
+The "5 Morceaux Charactéristiques" are on the whole better. The
+"Scherzo" is shimmering with playfulness, and, in the Beethoven
+fashion, has a tender intermezzo amoroso. This seriousness is enforced
+with an ending of a most plaintive nature. The "Caprice" is brilliant
+and whimsical, with some odd effects in accent. The "Gavotte" makes
+unusual employment of triplets, but lacks the precious yeast of
+enthusiasm necessary to a prime gavotte.
+
+This enthusiasm is not lacking however from his "Impromptu," and it
+makes his "Elégie" a masterly work, possibly his best in the smaller
+lines. This piece is altogether elegiac in spirit, intense in its
+sombrest depths, impatient with wild outcries,--like Chopin's "Funeral
+March,"--and working up to an immense passion at the end. This
+subsides in ravishingly liquid arpeggios,--"melodious tears"?--which
+obtain the kindred effect of Chopin's tinkling "Berceuse" in a
+slightly different way. This notable work is marred by an interlude in
+which the left hand mumbles harshness in the bass, while the right
+hand is busy with airy fioriture. It is too close a copy of the finish
+of the first movement of Beethoven's "Moonlight" sonata. The
+lengthening skips of the left hand are also Beethovenesque trademarks.
+
+Parker is rather old-fashioned in his forms of musical speech. That
+is, he has what you might call the narrative style. He follows his
+theme as an absorbing plot, engaging enough in itself, without
+gorgeous digressions and pendent pictures. His work has something of
+the Italian method. A melody or a theme, he seems to think, is only
+marred by abstruse harmony, and is endangered by diversions. One might
+almost say that a uniform lack of attention to color-possibilities and
+a monotonous fidelity to a cool, gray tone characterize him. His
+fondness for the plain, cold octave is notable. It is emphasized by
+the ill-success of his "Six Lyrics for Piano, without octaves." They
+are all of thin value, and the "Novelette" is dangerously
+Schumannesque.
+
+The "Three Love Songs" are happy, "Love's Chase" keeping up the arch
+raillery and whim of Beddoe's verse. "Orsame's Song" is smooth and
+graceful, ending with a well-blurted, abrupt "The devil take her!" The
+"Night-piece to Julia" is notable. We have no poet whose lyrics are
+harder to set to music than good Robin Herrick's. They have a lilt of
+their own that is incompatible with ordinary music. Parker has,
+however, been completely successful in this instance. A mysterious,
+night-like carillon accompaniment, delicate as harebells, gives sudden
+way to a superb support of a powerful outburst at the end of the song.
+
+[Music:
+
+    The stars of the night
+    Will lend thee their light,
+    Like tapers without number.
+    Then, Julia let me woo thee,
+    Thus to come unto me;
+    And when I shall meet
+    Thy silvery feet
+    My soul I'll pour into thee,
+    My soul I'll pour into thee, into thee.
+
+Copyright, 1886, by Arthur P. Schmidt & Co.
+
+FRAGMENT OF MR. PARKER'S SONG, "NIGHT-PIECE TO JULIA."]
+
+The "Six Songs" show not a little of that modernity and opulent color
+I have denied to the most of Mr. Parker's work. "Oh, Ask Me Not" is
+nothing less than inspiration, rapturously beautiful, with a rich use
+of unexpected intervals. The "Egyptian Serenade" is both novel and
+beautiful. The other songs are good; even the comic-operatic flavor of
+the "Cavalry Song" is redeemed by its catchy sweep.
+
+Among a large number of works for the pipe-organ, few are so marked by
+that purposeless rambling organists are so prone to, as the
+"Fantaisie." The "Melody and Intermezzo" of opus 20 makes a sprightly
+humoresque. The "Andante Religioso" of opus 17 has really an
+allegretto effect, and is much better as a gay pastorale than as a
+devotional exercise. It is much more shepherdly than the avowed
+"Pastorale" (opus 20), and almost as much so as the "Eclogue,"
+delicious with the organ's possibilities for reed and pipe effects.
+The "Romanza" is a gem of the first water. A charming quaint effect
+is got by the accompaniment of the air, played legato on the swell,
+with an echo, staccato, of its own chords on the great. The interlude
+is a tender melody, beautifully managed. The two "Concert Pieces" are
+marked by a large simplicity in treatment, and have this rare merit,
+that they are less gymnastic exercises than expressions of feeling. A
+fiery "Triumphal March," a delightful "Canzonetta," and a noble
+"Larghetto," of sombre, yet rich and well-modulated, colors, complete
+the list of his works for the organ. None of these are registered with
+over-elaboration.
+
+To sacred music Parker has made important contributions. Besides a
+dignified, yet impassioned, complete "Morning and Evening Service for
+the Holy Communion," he has written several single songs and anthems.
+
+It is the masterwork, "Hora Novissima," however, which lifts him above
+golden mediocrity. From the three thousand lines of Bernard of Cluny's
+poem, "De Contemptu Mundi," famous since the twelfth century, and made
+music with the mellowness of its own Latin rhyme, Mrs. Isabella G.
+Parker, the composer's mother, has translated 210 lines. The English
+is hardly more than a loose paraphrase, as this random parallel
+proves:
+
+    Pars mea, Rex meus,    Most Mighty, most Holy,
+    In proprio Deus,       How great is the glory,
+      Ipse decore.           Thy throne enfolding.
+
+Or this skilful evasion:
+
+    Tunc Jacob, Israel,    All the long history,
+    Et Lia, tunc Rachel    All the deep mystery
+      Efficietur.            Through ages hidden.
+
+But it is perhaps better for avoiding the Charybdis of literalness.
+
+Those who accuse Rossini's "Stabat Mater" of a fervor more theatric
+than religious, will find the same faults in Parker's work, along with
+much that is purely ecclesiastical. Though his sorrow is apt to become
+petulance, there is much that is as big in spirit as in handling. The
+work is frequently Mendelssohnian in treatment. An archaism that might
+have been spared, since so little of the poem was retained, is the sad
+old Händelian style of repeating the same words indefinitely, to all
+neglect of emptiness of meaning and triteness. Thus the words "_Pars
+mea, Rex meus_" are repeated by the alto exactly thirteen times!
+which, any one will admit, is an unlucky number, especially since the
+other voices keep tossing the same unlucky words in a musical
+battledore.
+
+The especially good numbers of the work (which was composed in 1892,
+and first produced, with almost sensational success, in 1893) are: the
+magnificent opening chorus; the solo for the soprano; the large and
+fiery finale to Part I.; the superb tenor solo, "Golden Jerusalem,"
+which is possibly the most original and thrilling of all the numbers,
+is, in every way, well varied, elaborated, and intensified, and
+prepares well for the massive and effective double chorus, "Stant Syon
+Atria," an imposing structure whose ambition found skill sufficing; an
+alto solo of original qualities; and a finale, tremendous, though
+somewhat long drawn out. Of this work, so careful a critic as W.J.
+Henderson was moved to write:
+
+    "His melodic ideas are not only plentiful, but they are
+    beautiful, ... graceful and sometimes splendidly vigorous....
+    There is an a cappella chorus which is one of the finest
+    specimens of pure church polyphony that has been produced in
+    recent years.... It might have been written by Hobrecht,
+    Brumel, or even Josquin des Pres. It is impossible to write
+    higher praise than this.... The orchestration is
+    extraordinarily ... rich. As a whole ... the composition
+    ... may be set down as one of the finest achievements of the
+    present day."
+
+And Philip Hale, a most discriminant musical enthusiast, described the
+chorus "Pars Mea" as:
+
+    "A masterpiece, true music of the church," to which "any
+    acknowledged master of composition in Europe would gladly
+    sign his name.... For the a cappella chorus there is nothing
+    but unbounded praise.... Weighing words as counters, I do not
+    hesitate to say that I know of no one in the country or in
+    England who could by nature and by student's sweat have
+    written those eleven pages.... I have spoken of Mr. Parker's
+    quasi-operatic tendency. Now he is a modern. He has shown in
+    this very work his appreciation and his mastery of antique
+    religious musical art. But as a modern he is compelled to
+    feel the force of the dramatic in religious music.... But his
+    most far-reaching, his most exalted and rapt conception of
+    the bliss beyond compare is expressed in the language of
+    Palestrina and Bach."
+
+In September, 1899, the work was produced with decisive success in
+London, Parker conducting.
+
+Besides this, there are several secular cantatas, particularly "King
+Trojan," which contains a singable tune for Trojan with many delicate
+nuances in the accompaniment, and a harp-accompanied page's song that
+is simply ambrosial. Then there is Arlo Bates' poem, "The Kobolds,"
+which Parker has blessed with music as delicate as the laces of
+gossamer-spiders.
+
+His latest work is devoted to the legend of St. Christopher, and
+displays the same abilities for massive and complex scoring whenever
+the opportunity offers. On the other hand, the work discloses Parker's
+weaknesses as well, for the libretto drags in certain love episodes
+evidently thought desirable for the sake of contrast and yet
+manifestly unnecessary to the story. The character of the queen, for
+instance, is quite useless, and, in fact, disconcerting. The love
+scene between the king and queen reminds one uncomfortably of Tristan
+and Isolde, while a descending scale constantly used throughout the
+work in the accompaniment incessantly suggests the "Samson and
+Delilah" of Saint-Saëns.
+
+In spite of flaws, however,--flaws are to be had everywhere for the
+looking,--Parker's work has its fine points. The struggle between the
+demons and the singers of the sacred Latin Hymn has made excellent use
+of the Tannhäuser effect. The Cathedral scene shows Parker's resources
+in the massive use of choruses to be very large. The barcarolling
+billows of the river are ravishingly written, and the voice of the
+child crying out is effectively introduced. The song the giant
+Christopher sings through the storm is particularly superb.
+
+
+_Frank van der Stucken._
+
+[Illustration: FRANK VAN DER STUCKEN.]
+
+On the bead-roll of those who have had both the ability and the
+courage to take a stand for our music, the name of Frank van der
+Stucken must stand high. His Americanism is very frail, so far as
+birth and breeding count, but he has won his naturalization by his
+ardor for native music.
+
+Van der Stucken's life has been full of labors and honors. He was born
+at Fredericksburg, Texas, in 1858, of a Belgian father and a German
+mother. After the Civil War, in which the father served in the
+Confederate army as a captain of the Texan cavalry, the family
+returned to Belgium, where, at Antwerp, Van der Stucken studied under
+Benoit. Here some of his music was played in the churches, and a
+ballet at the Royal Theatre.
+
+In 1878 he began studies in Leipzig, making important acquaintances,
+such as Reinecke, Grieg, and Sinding. His first male chorus was sung
+there, with great success. Of his fifth opus, consisting of nine
+songs, Edvard Grieg wrote an enthusiastic criticism. After travelling
+for some time, Van der Stucken was appointed kapellmeister at the
+Breslau Stadt-Theatre. This was his début as conductor. Here he
+composed his well-known suite on Shakespeare's "Tempest," which has
+been performed abroad and here. Here, also, he wrote a "Festzug," an
+important work in Wagnerian style, and his passionate "Pagina
+d'Amore," which, with the published portions of his lyric drama,
+"Vlasda," has been performed by many great orchestras.
+
+In 1883, Van der Stucken met Liszt, at Weimar, and under his auspices
+gave a concert of his own compositions, winning the congratulations of
+Grieg, Lassen, Liszt, and many other celebrated musicians. A prominent
+German critic headed his review of the performance: "A new star on the
+musical firmament."
+
+Van der Stucken was now called to the directorship of the famous Arion
+Male Chorus in New York, a position which he held for eleven years
+with remarkable results. In 1892 he took his chorus on a tour in
+Europe and won superlative praises everywhere.
+
+In 1885 and successive years Van der Stucken conducted orchestral
+"Novelty Concerts," which have an historical importance as giving the
+first hearing to symphonic works by American composers. In Berlin and
+in Paris he also gave our musicians the privilege of public
+performance. From 1891 to 1894 he devoted himself to reforming the
+Northeastern Säengerbund, achieving the enormous task of making five
+thousand male voices sing difficult music artistically. Since 1895 Van
+der Stucken has been conductor of the newly formed Cincinnati Symphony
+Orchestra, as well as dean of the faculty of the College of Music in
+that city. The influence of this man, who is certainly one of the most
+important musicians of his time, is bringing Cincinnati back to its
+old musical prestige.
+
+As a composer, Van der Stucken shows the same originality and power
+that characterize him as an organizer. His prelude to the opera
+"Vlasda" (op. 9) is one long rapture of passionate sweetness, superbly
+instrumented. An arrangement of it has been made for the piano for
+four hands by Horatio W. Parker.
+
+Van der Stucken's music to "The Tempest" (op. 8) is published in three
+forms. Besides the orchestral score, there is an arrangement for piano
+solo, by A. Siloti, of the "Dance of the Gnomes," "Dance of the
+Nymphs," and "Dance of the Reapers," the first and third being
+especially well transcribed. For four hands, Hans Sitt has arranged
+these three dances, as well as a short but rich "Exorcism," some
+splendid melodramatic music, and the rattling grotesque, "The
+Hound-chase after Caliban." All these pieces are finely imagined and
+artistically handled.
+
+For piano solo, there is a group of three Miniatures (op. 7). The
+first is an Albumblatt of curious dun colors; the second is a
+Capriccietto, a strange whim; the third is a beautiful bit called "May
+Blossom."
+
+[Music:
+
+    Der Stunde sei geflucht,
+    wo ich dein Herz gesucht,
+    wenn in dir diese Liebe
+    statt milder Freudentriebe
+    soll tragen herbe Frucht!
+    Gesegnet ist die Stunde,
+    sprach sie mit süssem Munde,
+    mir ist kein Leid geschehn
+    den Himmel fühl' ich stehn
+    in meines Herzens Grunde.
+
+    That hour with curse be fraught,
+    In which thy heart I sought,
+    If I, in love bestowing,
+    Instead of gladness knowing,
+    A bitter grief have bought:
+    "My soul that hour e'er blesses,"
+    A rosy mouth confesses,
+    "Thy love is all I crave,
+    Then heav'n itself I have
+    Within my heart's recesses."
+
+Copyright, 1892, by Friedrich Luckhardt, Berlin.
+
+By permission of Luckhardt & Belder, New York.
+
+FRAGMENT OF MR. VAN DER STUCKEN'S "DIE STUNDE SEI GESEGNET."]
+
+Of Van der Stucken's songs I have seen two groups, the first a setting
+of five love lyrics by Rückert. None of these are over two pages long,
+except the last. They are written in the best modern _Lied_ style, and
+are quite unhackneyed. It is always the unexpected that happens,
+though this unexpected thing almost always proves to be a right thing.
+Without any sense of strain or bombast he reaches superb climaxes;
+without eccentricity he is individual; and his songs are truly
+interpreters of the words they express. Of these five, "Wann die Rosen
+aufgeblüht" is a wonderfully fine and fiery work; "Die Stunde sei
+gesegnet" has one of the most beautiful endings imaginable; "Mir ist,
+nun ich die habe" has a deep significance in much simplicity, and its
+ending, by breaking the rule against consecutive octaves, attains, as
+rule-breakings have an unpleasant habit of doing, an excellent effect.
+"Liebste, nur dich seh'n" is a passionate lyric; and "Wenn die
+Vöglein sich gepaart" is florid and trilly, but legitimately so; it
+should find much concert use. These songs, indeed, are all more than
+melodies; they are expressions.
+
+Of the second group of eight songs for low voice, "O Jugendlust" is
+athrill with young ecstasy; "Einsame Thräne" has superb coloring, all
+sombre, and a tremendous climax; "Seeligkeit" is big with emotion and
+ravishing in harmony, "Ein Schäferlied" is exquisite, "Von schön
+Sicilien war mein Traum" begins in the style of Lassen, but ends with
+a strength and vigor far beyond that tender melodist. Besides these
+groups, there is a rich lyric "Moonlight;" and there are many part
+songs.
+
+A work of considerable importance written many years before and
+presented by Franz Liszt at Weimar had its first American production
+in 1899, at Cincinnati and New York. It is a symphonic prologue to
+Heine's tragedy, "William Ratcliff." The different psychological
+phases of the tragedy are presented by characteristic motives which
+war among themselves. The Scottish locale is indicated vividly, and
+the despair of the lovers presented in one place by the distortion and
+rending of all the principal motives. A dirge with bells and a final
+musing upon, and resignation before, implacable Fate give a dignified
+close to a work in which passion is exploited with erudition and
+modernity.
+
+
+_W.W. Gilchrist._
+
+The prize competition has its evils, unquestionably; and, in a place
+of settled status, perhaps, they outnumber its benefits. But in
+American music it has been of material encouragement to the production
+of large works. In the first place, those who do not win have been
+stimulated to action, and have at least their effort for their pains.
+In the second place, those who manage to win are several hundred
+dollars the richer, and may offer the wolf at the door a more
+effective bribe than empty-stomached song.
+
+In the city of Philadelphia lives a composer of unusual luck in
+prize-winning. That large and ancient town is not noteworthy for its
+activity in the manufacture of original music. In fact, some one has
+spoken of it as "a town where the greatest reproach to a musician is
+residence there." The city's one prominent music-writer is William
+Wallace Gilchrist; but he stands among the first of our composers. He
+is especially interesting as a purely native product, having never
+studied abroad, and yet having won among our composers a foremost
+place in the larger forms of composition. He was born in Jersey City,
+January 8, 1846; his father was a Canadian, his mother a native of
+this country; both were skilled in music, and his home life was full
+of it, especially of the old church music. After a youth of the usual
+school life he tried various pursuits,--photography, law, business;
+but music kept calling him. A good barytone voice led him to join
+vocal societies, and at length he made music his profession, after
+studying voice, organ, and composition with Dr. H.A. Clarke, of
+Philadelphia. He was a successful soloist in oratorio for some years,
+but gradually devoted himself to church work and conducting, and to
+composition, though none of his music was published till he was
+thirty-two, when he took two prizes offered by the Abt Male Singing
+Society of Philadelphia.
+
+Shortly after taking the Abt Society prize, he won three offered by
+the Mendelssohn Glee Club of New York, and in 1884 he took the $1,000
+prize offered by the Cincinnati Festival Association.
+
+This last was gained by his setting of the Forty-sixth Psalm for
+soprano solo, chorus, and orchestra. The overture opens with a noble
+andante contemplatif, which deserves its epithet, but falls after a
+time into rather uninteresting moods, whence it breaks only at the
+last period. The opening chorus, "God Is Our Refuge and Strength,"
+seems to me to be built on a rather trite and empty subject, which it
+plays battledore and shuttlecock with in the brave old pompous and
+canonic style, which stands for little beyond science and labor. It is
+only fair to say, however, that A.J. Goodrich, in his "Musical
+Analysis," praises "the strength and dignity" of this chorus; and
+gives a minute analysis of the whole work with liberal thematic
+quotation. The psalm, as a whole, though built on old lines, is built
+well on those lines, and the solo "God Is in the Midst of Her" is
+taken up with especially fine effect by the chorus. "The Heathen
+Raged" is a most ingeniously complicated chorus also.
+
+The cantata, "Prayer and Praise," is similarly conventional, and
+suffers from the sin of repetition, but contains much that is strong.
+
+Of the three prize male choruses written for the Mendelssohn Glee
+Club, the "Ode to the Sun" is the least successful. It is written to
+the bombast of Mrs. Hemans, and is fittingly hysterical; occasionally
+it fairly shrieks itself out. "In Autumn" is quieter; a sombre work
+with a fine outburst at the end. "The Journey of Life" is an andante
+misterioso that catches the gloom of Bryant's verse, and offers a good
+play for that art of interweaving voices in which Gilchrist is an
+adept.
+
+"The Uplifted Gates" is a chorus for mixed voices with solos for
+sopranos and altos; it is elaborate, warm, and brilliant. In lighter
+tone are the "Spring Song," a trio with cheap words, but bright music
+and a rich ending, and "The Sea Fairies," a chorus of delightful
+delicacy for women's voices. It has a piano accompaniment for four
+hands. In this same difficult medium of women's voices is "The
+Fountain," a surpassingly beautiful work, graceful and silvery as a
+cascade. It reminds one, not by its manner at all, but by its success,
+of that supreme achievement, Wagner's song of the "Rhinemaidens."
+The piano accompaniment to Gilchrist's chorus aids the general
+picture.
+
+A thoroughly charming work is the setting of Lowell's poem, "The
+Rose," for solos and chorus. The dreariness of the lonely poet and the
+lonely maid contrasts strongly with the rapture of their meeting. As
+the first half of the poem is morose yet melodious, the latter is
+bright with ecstasy; the ending is of the deepest tenderness.
+
+By all odds the best of these choruses, however, is "The Legend of the
+Bended Bow," a fine war-chant by Mrs. Hemans. Tradition tells that in
+ancient Britain the people were summoned to war by messengers who
+carried a bended bow; the poem tells of the various patriots
+approached. The reaper is bidden to leave his standing corn, the
+huntsman to turn from the chase; the chieftain, the prince, mothers,
+sisters, sweethearts, and the bards are all approached and counselled
+to bravery. After each episode follow the words "And the bow passed
+on," but the music has been so well managed that the danger of such a
+repetition is turned into grim force. The only prelude is five great
+blasts of the horns. A brawny vigor is got by a frequent use of
+imitation and unison in the voices. The choric work is marked
+throughout with the most intense and epic power, almost savagery; a
+magnificent martial zest. The climax is big. It is certainly one of
+the best things of its kind ever done over here.
+
+Another work of fine quality throughout is "A Christmas Idyl," for
+solos, chorus, and orchestra. A terrible sombreness is achieved in its
+former half by a notable simplicity. The latter part is in brighter
+tone; the solo, "And Thou, Bethlehem," is especially exultant. In
+manuscript is "An Easter Idyl," of large proportions, for solos,
+chorus, and orchestra, or organ.
+
+In the single songs the influence of Gilchrist's early training in
+hymns is patent. In only a few instances do they follow the latter-day
+methods of Schumann and Franz. "A Song of Doubt and a Song of Faith"
+is possibly his best vocal solo. It begins with a plaint, that is full
+of cynic despair; thence it breaks suddenly into a cheerful andante.
+"The Two Villages" is a strong piece of work on the conventional
+lines of what might be called the Sunday ballad. "A Dirge for Summer"
+has a marked originality, and is of that deep brooding which is
+particularly congenial to Gilchrist's muse. The Scotch songs are
+charming: "My Heart is Sair" is full of fine feeling, and must be
+classed among the very best of the many settings of this lyric of
+Burns'.
+
+Most modern in feeling of all Gilchrist's vocal solos is the group of
+"Eight Songs." They interpret the text faithfully and the
+accompaniment is in accord with the song, but yet possessed of its own
+individuality. "A Love Song" is tender and has a well-woven
+accompaniment; "The Voice of the Sea" is effective, but hardly attains
+the large simplicity of Aldrich' poem; "Autumn" is exquisitely cheery;
+"Goldenrod" is ornately graceful, while "The Dear Long Ago" is quaint;
+"Lullaby" is of an exquisitely novel rhythm in this overworked form.
+
+[Music: A LOVE SONG.
+
+By Barry Cornwall.
+
+Music by W.W. Gilchrist.
+
+    Love me if I live,
+    Love me if I die.
+    What to me is life or death,
+    So that thou, that thou be near.
+    What to me is life or death,
+    So that thou be near,
+    So that thou be near.
+
+Copyright, 1885, by Arthur P. Schmidt & Co.
+
+A FRAGMENT.]
+
+There is much contrast between the lightness of his book, "Songs for
+the Children," and his ponderous setting of Kipling's "Recessional."
+The treatment of Paul Laurence Dunbar's "Southern Lullaby" is unusual,
+and the songs, "My Ladye" and "The Ideal," both in MS., are
+noteworthy.
+
+Gilchrist has written a vast amount of religious music, including
+several "Te Deums," of which the one in C and that in A flat are the
+best, to my thinking. He has written little for the piano except a
+series of duets, of which the charming "Mélodie" and the fetching
+"Styrienne" are the best.
+
+It is by his orchestral works, however, that he gains the highest
+consideration. These include a symphony for full orchestra, which has
+been frequently performed with success; a suite for orchestra; a suite
+for piano and orchestra; as well as a nonet, a quintet, and a trio,
+for strings and wind. None of these have been published, but I have
+had the privilege of examining some of the manuscripts.
+
+The spirit and the treatment of these works is strongly classical.
+While the orchestration is scholarly and mellow, it is not in the
+least Wagnerian, either in manipulation or in lusciousness. The
+symphony is not at all programmatic. The Scherzo is of most exuberant
+gaiety. Its accentuation is much like that in Beethoven's piano
+sonata (op. 14, No. 2). Imitation is liberally used in the scoring,
+with a delightfully comic effect as of an altercation. The symphony
+ends with a dashing finale that is stormy with cheer. Gilchrist is at
+work upon a second symphony of more modernity.
+
+The "Nonet" is in G minor, and begins with an Allegro in which a most
+original and severe subject is developed with infinite grace and
+an unusually rich color. The Andante is religioso, and is fervent
+rather than sombre. The ending is especially beautiful. A sprightly
+Scherzo follows. It is most ingeniously contrived, and the effects are
+divided with unusual impartiality among the instruments. A curious and
+elaborate allegro molto furnishes the finale, and ends the "Nonet"
+surprisingly with an abrupt major chord.
+
+The opening Allegro of the "Quintet" begins with a 'cello solo of
+scherzesque quality, but as the other voices join in, it takes on a
+more passionate tone, whence it works into rapturously beautiful moods
+and ends magnificently. The piano part has a strong value, and even
+where it merely ornaments the theme carried by the strings, it is
+fascinating. The Scherzo is again of the Beethoven order in its
+contagious comicality. The piano has the lion's share of it at first,
+but toward the last the other instruments leave off embroidery and
+take to cracking jokes for themselves. The Andante is a genuinely fine
+piece of work. It ranges from melting tenderness to impassioned rage
+and a purified nobility. The piano part is highly elaborated, but the
+other instruments have a scholarly, a vocal, individuality. I was
+shocked to see a cadenza for the piano just before the close, but its
+tender brilliance was in thorough accord with the sincerity of the
+movement. The "Quintet" ends with a splendid Allegro.
+
+In MS. are three interesting works for the violin, a Rhapsody, a
+Perpetual Motion, and a Fantasie.
+
+This last has a piano accompaniment of much ingenuity. The fantasial
+nature of the work lies principally in its development, which is
+remarkably lyrical, various melodies being built up beautifully on
+fractions of the main subjects. There is nothing perfunctory, and the
+work is full of art and appeal. Gilchrist is one of our most polished
+composers contrapuntally, but has been here in a very lyric mood.
+
+He is the founder and conductor of the Mendelssohn Club of
+Philadelphia, an unusually effective organization; one of the founders
+of the local Manuscript Club; the conductor of a choral society of two
+hundred voices, at Harrisburg, and the director of two church choirs.
+
+
+_G.W. Chadwick._
+
+[Illustration: Autograph of G.W. Chadwick]
+
+[Illustration: GEORGE WHITEFIELD CHADWICK.]
+
+One of the most sophisticated, and, at the same time, most eclectic of
+native music-makers, is George W. Chadwick, to whom the general
+consent of authorities would grant a place among the very foremost of
+the foremost American composers.
+
+His reputation rests chiefly on his two symphonies, a number of
+concert overtures, and many pieces of chamber-music, which are much
+praised. Chadwick was born at Lowell, Mass., November 13, 1854. His
+parents were American, and it was not till 1877, after studying with
+Eugene Thayer in Boston, and teaching music in the college at Olivet,
+Mich., that Chadwick studied for two years at Leipzig, under Jadassohn
+and Reinecke, and later at Munich for a year under Rheinberger. In
+1880 he returned to America and settled in Boston, where he has since
+lived, as organist, teacher, and conductor, an important figure in
+the town's musical life.
+
+Among his few works for the piano, are "Six Characteristic Pieces"
+(op. 7). The "Reminiscence of Chopin" is an interesting and skilful
+chain of partial themes and suggestions from Chopin. The "Étude" is a
+monotonous study in a somewhat Schumannesque manner, with a graceful
+finish. The "Congratulation" is a cheerful bagatelle; the "Irish
+Melody" is sturdy, simple, and fetching; but the "Scherzino" is a hard
+bit of humor with Beethoven mannerisms lacking all the master's
+unction.
+
+The opus ends with an unfortunate composition inexcusably titled
+"Please Do!"
+
+There are two bright "Caprices" and three excellent waltzes, of which
+the third is the best. It is a dreamy, tender work on a theme by
+"B.J.L.," which refers, I presume, to Mr. B.J. Lang.
+
+Chadwick has done a vast amount of part-song writing. His "Lovely
+Rosabelle" is for chorus and orchestra, and is marked with many
+original effects. His "Reiterlied" is superbly joyful. A setting of
+Lewis Carroll's immortal "Jabberwocky" shows much rich humor of the
+college glee-club sort. There is an irresistibly humorous episode
+where the instrument of destruction goes "snicker snack," and a fine
+hilarity at
+
+    "'O frabjous day
+    Callooh, callay,'
+    He chortled in his joy."
+
+What would part-song writers do if the Vikings had never been
+invented? Where would they get their wild choruses for men, with a
+prize to the singer that makes the most noise? Chadwick falls into
+line with "The Viking's Last Voyage" (1881), for barytone solo, male
+chorus, and orchestra, which gives him a very high place among writers
+in this form. He has also a robustious "Song of the Viking," and an
+excellent Dedication Ode (1884), for solo, chorus, and orchestra, to
+the pregnant words of Rev. H.B. Carpenter, besides two cantatas for
+mixed voices, "Phoenix Expirans" and "The Pilgrims." In 1889 was
+published his "Lovely Rosabelle," a ballad for chorus and orchestra;
+it contains some interesting dissonantial work in the storm-passages.
+And his comic opera, "Tabasco," must be mentioned, as well as an
+enormous mass of sacred music, which, I confess, I had not the
+patience to study. The flesh was willing, but the spirit was weak.
+
+Among Chadwick's songs is a volume of Breton melodies harmonized with
+extreme simplicity. Others are "Gay Little Dandelion," which is good
+enough of its everlasting flower-song sort; "In Bygone Days" and
+"Request," which, aside from one or two flecks of art, are trashy; and
+two childish namby-pambies, "Adelaide" and "The Mill." "A Bonny Curl"
+catches the Scotch-ton faithfully.
+
+Chadwick usually succeeds, however, in catching foreign flavors. His
+"Song from the Persian" is one of his best works, and possibly the
+very best is his "Sorais' Song," to Rider Haggard's splendid words.
+It has an epic power and a wild despair. Up to the flippancy of its
+last measures, it is quite inspired, and one of the strongest of
+American songs. The "Danza" is captivating and full of novelty. "Green
+Grows the Willow" is a burden of charming pathos and quaintness,
+though principally a study in theme-management. "Allah," however, is
+rather Ethiopian than Mahommedan. His "Bedouin Love Song" has little
+Oriental color, but is full of rush and fire, with a superb ending. It
+is the best of the countless settings of this song. I wish I could say
+the same of his "Thou Art so Like a Flower," but he has missed the
+intense repression of Heine.
+
+[Music: _To Mrs. G.H. Stoddard._
+
+TWO FOLK SONGS.
+
+I
+
+G.W. Chadwick
+
+    O love and joy are for a day,
+    Then tears and sorrow after,
+    O love is for a summer's day,
+    And then farewell to laughter.
+    If love and joy are for a day
+    And then farewell to laughter,
+    To live with love give me one day
+    Though tears forever after.
+
+Copyright, 1892, by Arthur P. Schmidt.]
+
+The "Serenade" displays an interesting rhythm; "The Miller's Daughter"
+is tender, and "A Warning" is delightfully witty. One regrets,
+however, that its best points were previously used in Schumann's
+perfect folk-song, "Wenn ich früh in den Garten geh'." Chadwick has
+two folk-songs of his own, however, which are superb. "He Loves Me" is
+a tender, cradle-song-like bit of delicious color. The "Lullaby" is a
+genuinely interesting study in this overworked form. "The Lily" has
+the passionate lyricism of Chaminade, and "Sweet Wind that Blows" is a
+fine frenzy. The "Nocturne" is dainty and has its one good climax.
+"Before the Dawn" has some of Chadwick's best work; it is especially
+marked by a daring harmonic--you might say--_impasto_.
+
+His principal works, besides those mentioned, may be catalogued (I am
+unable to do more than catalogue most of them, having seen only one of
+them, "The Lily Nymph," performed, and having read the score of only
+the "Melpomene" overture): Concert overtures, "Rip Van Winkle"
+(written in Leipzig, 1879, and played there the same year), "Thalia"
+(1883), "Melpomene" (1887), "The Miller's Daughter" (1887), and
+"Adonais" (in memory of a friend, 1899); Symphonies, in C (1882), in B
+(1885); an Andante for string orchestra (1884), and numerous pieces of
+chamber-music. In the case of the cantata, "The Lily Nymph,"
+Chadwick's art was quite futilized by the superb inanities of the book
+he used. The "Melpomene" is a work of infinitely more specific
+gravity. It is one of the most important of American orchestral works.
+
+As his "Thalia" was an "overture to an imaginary comedy," so this, to
+an imaginary tragedy. It has been played by the Boston Symphony and
+many other orchestras. It has that definiteness of mood with that
+indefiniteness of circumstance in which music wins its most dignified
+prosperity.
+
+    It opens with the solitary voice of the English horn, which
+    gives a notable pathos (read Berlioz on this despairful
+    elegist, and remember its haunting wail in the last act of
+    "Tristan und Isolde"). The woeful plaint of this voice
+    breathing above a low sinister roll of the tympanum
+    establishes at once the atmosphere of melancholy. Other
+    instruments join the wail, which breaks out wildly from the
+    whole orchestra. Over a waving accompaniment of clarinets,
+    the other wood-winds strike up a more lyric and hopeful
+    strain, and a soliloquy from the 'cello ends the slow
+    introduction, the materials of which are taken from the two
+    principal subjects of the overture, which is built on the
+    classic sonata formula. The first subject is announced by the
+    first violins against the full orchestra; the subsidiary
+    theme is given to the flutes and oboes; after a powerful
+    climax, and a beautiful subsidence of the storm in the lower
+    strings, the second subject appears in the relative major
+    with honeyed lyricism. The conclusion, which is made rather
+    elaborate by the latter-day symphonists, is reduced to a
+    brief modulation by Mr. Chadwick, and almost before one knows
+    it, he is in the midst of the elaboration. It is hard to say
+    whether the composer's emotion or his counterpoint is given
+    freer rein here, for the work is remarkable both for the
+    display of every technical resource and for the irresistible
+    tempest of its passion. In the reprise there is a climax that
+    thrills one even as he tamely reads the score, and must be
+    overpowering in actual performance: the cheerful consolation
+    of the second subject provokes a cyclonic outburst of grief;
+    there is a furious climax of thrilling flutes and violins
+    over a mad blare of brass, the while the cymbals shiver
+    beneath the blows of the kettledrum-sticks. An abrupt silence
+    prepares for a fierce thunderous clamor from the tympani and
+    the great drum (beaten with the sticks of the side-drum).
+    This subsides to a single thud of a kettledrum; there is
+    another eloquent silence; the English horn returns to its
+    first plaint; but grief has died of very exercise, and the
+    work ends in a coda that establishes a major harmony and
+    leaves the hearer with a heart purged white and clean.
+
+The "Melpomene" overture is a work of such inspiration and such
+scholarship that it must surely find a long youth in the chronicle of
+our music.
+
+
+_Arthur Foote._
+
+[Illustration: ARTHUR FOOTE.]
+
+[Illustration: Autograph of Arthur Foote]
+
+The nearest approach Americans make to the enthusiastic German
+_Männerchor_ is in the college glee clubs. The dignity of their
+selections is not always up to that of the Teutonic chorus, but they
+develop a salutary fondness for color and shading, exaggerating both a
+little perhaps, yet aiming at the right warmth and variety withal.
+Even those elaborate paraphrases and circumlocutions of Mother Goose
+rhymes, to which they are so prone, show a striving after dramatic
+effect and richness of harmony, as well as a keen sense of wit and
+humor that are by no means incompatible with real value in music.
+
+Among their other good deeds must be counted the fostering of the
+musical ambitions of Arthur Foote, who was for two years the leader of
+the Glee Club of Harvard University. Though he has by no means been
+content to delve no deeper into music than glee-club depths, I think
+the training has been of value, and its peculiar character is patent
+in his works. He is especially fond of writing for men's voices, and
+is remarkably at home in their management, and he strives rather for
+color-masses than for separate individualities in the voices.
+
+Among his larger works for men's voices is an elaborate setting of
+Longfellow's poem, "The Skeleton in Armor," which is full of vigor and
+generally sturdy in treatment, especially in its descriptions of
+Viking war and seafaring. The storm-scenes, as in Mr. Foote's "Wreck
+of the Hesperus," seem faintly to suggest Wagnerian _Donner und
+Blitzen_, but in general Mr. Foote has resisted the universal tendency
+to copy the mannerisms so many take to be the real essence of the
+Bayreuthian. A pretty bit of fancy is the use of a spinning-wheel
+accompaniment to the love-song, although the spindle is nowhere
+suggested by the poem. Indeed, the spinning is treated as a
+characteristic motif for the Norseman's bride, somewhat as it is
+Senta's motif in "The Flying Dutchman."
+
+The chief fault with the "Skeleton" chorus is that it is always
+choric. There are no solos, and the different registers are never used
+separately for more than a bar or two, before the whole mass chimes
+in. Even the instrumental interludes are short, and the general effect
+must be rather undiversified, one of sympathy, too, for the unrested
+chorus.
+
+"The Wreck of the Hesperus" is an ambitious work, built on large
+lines, but hardly represents Mr. Foote at his best. It is for mixed
+voices, and is pitched in a most lugubrious key, being always either
+vociferous with panic or dismal with minor woe. A worse trouble yet is
+the attempt to make a short poem fit a long composition. The
+Procrustean operation strains even Longfellow sadly.
+
+This blemish is lacking in "The Farewell of Hiawatha," which is
+written for men's voices. Though it, too, is of a sad tone, its sombre
+hues are rich and varied as a tapestry. Its effects, though potent,
+seem more sincere and less labored. It is altogether noble.
+
+A larger body of sacred music for mixed voices than many other
+Americans can boast, also swells Foote's opus-score. Here he shows the
+same facility with the quartette as in his other works. In fact, I
+think the effect of glee-club training on his young mind has strongly
+influenced his whole life-work. And, by the way, the most talented of
+all the great Sebastian Bach's twenty-one children--every one a
+musical opus, too--was diverted from the philosopher's career for
+which he was intended, and into professional musicianship, by just
+such a glee-club training in the universities at Leipzig and
+Frankfort.
+
+Almost all of Foote's compositions are written in the close harmony
+and limited range of vocal music, and he very rarely sweeps the
+keyboard in his piano compositions, or hunts out startling novelties
+in strictly pianistic effect. He is not fond of the cloudy regions of
+the upper notes, and though he may dart brilliantly skyward now and
+then just to show that his wings are good for lighter air, he is soon
+back again, drifting along the middle ether.
+
+He has won his high place by faithful adherence to his own sober,
+serene ideals, and by his genuine culture and seriousness. He is
+thoroughly American by birth and training, though his direct English
+descent accounts for his decided leaning toward the better impulses of
+the English school of music. He was born at Salem, Mass., March 5,
+1853, and though he played the piano a good deal as a boy, and made a
+beginning in the study of composition with Emery, he did not study
+seriously until he graduated from Harvard in 1874. He then took up the
+higher branches of composition under the tuition of John Knowles
+Paine, and obtained in 1875 the degree of A.M. in the special
+department of music. He also studied the organ and the piano with B.J.
+Lang at Boston, and has since made that city his home, teaching and
+playing the organ.
+
+His overture, "In the Mountains," has been much played from the
+manuscript by orchestras, among them the Boston Symphony. Besides a
+considerable amount of highly valuable contributions to American
+chamber-music, and two fine piano suites, he has written a great many
+piano pieces and songs which deserve even greater popularity than they
+have won, because, while not bristling with technical difficulties,
+they are yet of permanent worth.
+
+I know of no modern composer who has come nearer to relighting the
+fires that beam in the old gavottes and fugues and preludes. His two
+gavottes are to me among the best since Bach. They are an example of
+what it is to be academic without being only a-rattle with dry bones.
+He has written a Nocturne that gets farther from being a mere
+imitation of Chopin than almost any night-piece written since the Pole
+appropriated that form bodily from John Field and made it his own.
+
+One of his most original pieces is the Capriccio of his D minor Suite,
+which is also unusually brilliant in color at times; and he has an
+Allegretto that is a scherzo of the good old whole-souled humor.
+Foote, in fact, is never sickly in sentiment.
+
+Of his rather numerous songs, the older English poets, like Marlowe,
+Sidney, Shakespeare, Suckling, and Herrick, have given him much
+inspiration. The song "It Was a Lover and his Lass" is especially
+taking. His three songs, "When You Become a Nun, Dear," "The Road to
+Kew," and "Ho, Pretty Page!" written by modern poets in a half-archaic
+way, display a most delicious fund of subtile and ironic musical
+humor. "The Hawthorn Wins the Damask Rose" shows how really fine a
+well conducted English ballad can be. Among his sadder songs, the
+"Irish Folksong," "I'm Wearing Awa'," and the weird "In a Bower" are
+heavy with deepest pathos, while "Sweet Is True Love" is as wildly
+intense and as haunting in its woe as the fate of the poor Elaine,
+whose despair it sings. This I count one of the most appealing of
+modern songs.
+
+[Music: IT WAS A LOVER AND HIS LASS
+
+ARTHUR FOOTE, Op. 10, No. 1.
+
+    1. It was a lover and his lass,
+    With a hey and a ho,
+    With a hey and a ho, and a hey, and a hey non-i-no!
+    That o'er the green cornfield did pass,
+    In the springtime, the springtime,
+    The only pretty ring-time,
+    When birds do sing hey ding a ding!
+    Sweet lovers love the spring.
+
+    2. And therefore take the present time,
+    With a hey and a ho,
+    With a hey and a ho, and a hey, and a hey non-i-no!
+    For love is crowned with the prime,
+    In the springtime, the springtime,
+    The only pretty ring-time,
+    When birds do sing hey ding a ding!
+    Sweet lovers love the Spring. (_Shakespeare._)
+
+Copyright, 1886, by Arthur P. Schmidt & Co.]
+
+His greatest work is undoubtedly his symphonic prologue to Dante's
+story of "Francesca da Rimini," for full orchestra. Without being
+informed upon the subject, I fancy a certain programmism in the
+prologue that is not indicated in the quotation at the beginning of
+the work:
+
+             "Nessun maggior dolore,
+     Che ricordarsi del tempo felice
+     Nella miseria."
+
+The prologue, however, seems to me to contain more than the
+psychological content of these lines from the fifth canto of the
+"Inferno."
+
+    The slow introduction in C minor begins with a long, deep
+    sigh, followed by a downward passage in the violas and
+    'cellos that seems to indicate the steps that bring Dante and
+    Vergil down to the edge of the precipice past which the
+    cyclone of the damned rolls eternally. There is some
+    shrieking and shuddering, and ominous thudding of the
+    tympani (which are tuned to unusual notes), then follows a
+    short recitative which might represent Dante's query to
+    Francesca how she came to yield to love. Suddenly out of the
+    swirling strings the first subject is caught up; it is a
+    frenzy passionately sung by the first violins, reënforced by
+    the flutes at the crises. The second subject appears after a
+    sudden prelude by the brass; it is a very lyric waltz-tune in
+    the relative major, and doubtless depicts the joy recalled in
+    sorrow. The conclusion is quite lengthy; it is also in waltz
+    form, and is first announced by a single flute over the
+    violins and violas, the first violins keeping to the gloomy
+    G string. This air is now given to a solo horn, and a fierce
+    and irresistible dance fervor is worked up. The elaboration
+    begins with the first subject in F sharp minor, caught up
+    fiercely from a downward rush. The reprise is not long
+    delayed, and the second subject appears, contrary to custom,
+    in the tonic major instead of the tonic minor. The coda is
+    deliciously tender and beautiful, possibly because, being a
+    prologue, the work must prepare for a drama that begins
+    cheerfully; possibly because after all there is comfort in
+    bliss remembered in sorrow.
+
+Tschaïkowski has written a symphonic poem on the same subject, which
+has been also the inspiration of numberless dramas, and is one of the
+most pathetic pages in all literature; even the stern old Dante says
+that when he heard Francesca tell her story he almost died of pity,
+and fell to the ground as one dead.
+
+A Serenade for string orchestra (op. 25) contains a Prelude, a tender
+Air, a luscious Intermezzo in the rich key of B major with soli for
+violin and 'cello, a Romance with a good climax, and a gallant Gavotte
+with special attention to the too much slighted violas.
+
+Opus 36 is a suite for full orchestra. It has been played by the
+Boston Symphony, and consists of a brilliant Allegro; an Adagio of
+deep sincerity and beautifully varied color, a period wherein the
+brass choir, heavily scored, chants alone, and the division of the
+theme among the wood-wind over the rushing strings is especially
+effective; a very whimsical Andante with frequent changes of tempo,
+and soli for the English horn in antiphony with the first oboe; and a
+madcap Presto that whisks itself out in the first violins.
+
+Two other published works are a string quartette (op. 4) and a
+quintette for piano and strings (op. 36). This begins in A minor with
+a well woven and well derived set of themes, and ends in a scherzo in
+A major with spinning-song characteristics. Between these two
+movements comes an intermezzo of strongly marked Scotch tone. This has
+been performed by the Kneisel Quartette.
+
+
+_S.G. Pratt._
+
+Almost every musician has heard of Christopher Columbus, and holds
+him in a certain esteem as a man without whose push the invention of
+America would have been long deferred; but few American musicians have
+felt under a sufficient debt of gratitude to make his troubles and
+triumphs the foundation of an appropriate musical work. Silas G. Pratt
+was bold enough to undertake the monumental task; and he expended upon
+it large resources of scholarship, research, and enthusiasm. The work
+was performed at New York during the Quadricentennial of the discovery
+of America.
+
+If Pratt had been born in old Egypt, he would have found his chief
+diversion in the building of pyramids, so undismayed is he by the size
+of a task. His patriotism is a sharp spur to him, and has enabled him
+to write an orchestral composition devoted to Paul Revere's Ride; a
+fantasy descriptive of a battle between the Northern and Southern
+armies; "The Battle of Manila;" "The Anniversary Overture," in
+commemoration of the centennial of American Independence, performed in
+Berlin twice, and in London at the Crystal Palace, during Grant's
+visit there; and a march called by the curious name of "Homage to
+Chicago." Besides these works Pratt has written the "Magdalen's
+Lament," his first orchestral composition, suggested by Murillo's
+picture; the lyric opera, "Antonio;" a first symphony, of which the
+adagio was performed in Berlin, the other movements being produced in
+Boston and Chicago; a second symphony, "The Prodigal Son;" a romantic
+opera, "Zenobia," produced in Chicago; a lyric opera, "Lucille," which
+ran for three weeks in Chicago; a symphonic suite based on the
+"Tempest;" a canon for a string quartette; a serenade for string
+orchestra; a grotesque suite, "The Brownies," produced in New York
+and at Brighton Beach by Anton Seidl. Besides these works of musical
+composition, Pratt has delivered various musical lectures, ingeniously
+contrived to entertain the great public and at the same time inform
+it. He has been active also in the organization of various musical
+enterprises, among them the Apollo Club of Chicago.
+
+Pratt was born in Addison, Vermont, August 4, 1846. At the age of
+twelve, he was thrown on his own resources, and connected himself with
+music publishing houses in Chicago. After various public performances,
+he went to Germany in 1868, to study the piano under Bendel and
+Kullak, and counterpoint under Kiel. In 1872 he returned to Chicago
+and gave a concert of his own works. But the phoenix city had not
+entirely preened its wings after the great fire of 1871, and Pratt
+found no support for his ambitions. After teaching and giving
+concerts, he returned to Germany in 1875, where he attended the
+rehearsals of Wagner's Trilogy at Bayreuth, met Liszt here, and gave a
+recital of his own compositions at Weimar. His "Anniversary Overture"
+was cordially received by the press of both Berlin and London. A third
+visit to Europe was made in 1885 for the production of the "Prodigal
+Son" at the Crystal Palace, on the occasion of which, Berthold Tours
+wrote that both the symphony and the "Anniversary Overture" were
+"grandly conceived works, full of striking originality, modern
+harmony, flowing melody, and beautiful, as well as imposing effects."
+
+Activity along such lines has left Pratt little time for the smaller
+forms of composition; a few have been published, among them the song,
+"Dream Vision," in which Schumann's "Träumerei" is used for violin
+obbligato; and a few piano pieces, such as "Six Soliloquies," with
+poetic text. In these each chord shows careful effort at color, and
+the work is chromatic enough to convince one that he has studied his
+Bach thoroughly.
+
+Among his massive compositions there are two that seem likely to win,
+as they surely deserve, a long life. These are the symphonic suite,
+"The Tempest," and the "Prodigal Son." To the latter splendid
+achievement, A.J. Goodrich devotes several pages of his "Musical
+Analysis," to which I can do no better than to refer the reader. The
+"Tempest" is based, of course, on Shakespeare's play, and is described
+as follows by the composer:
+
+    "It is intended, in the first movement, Adagio, to typify the
+    sorrow of Prospero, and his soul's protest against the
+    ingratitude and persecution of his enemies. His willing
+    attendant Ariel is briefly indicated in the closing measures.
+    The Pastoral furnishes an atmosphere or stage setting for the
+    lovers, Miranda and Ferdinand, whose responsive love-song
+    follows the droning of a shepherd's pipe in the distance.
+    Prospero's interruption to their passionate assurances of
+    devotion, and the imposition of the unpleasant task, are
+    briefly touched upon, and the movement closes with a repeat
+    of the pastoral, and alternate reiteration of the lover's
+    song. The Finale, after a short introduction, in most sombre
+    vein, indicates the flitting about of Ariel and his companion
+    sprites as they gather for revelry. The presence of the
+    master is soon made apparent by the recurrence, in a
+    subdued manner, of Prospero's first theme from the Adagio,
+    the fantastic tripping of the elves continuing, as though the
+    controlling spirit were conjuring up the fête for the
+    amusement of the lovers and himself.
+
+        "'Ye elves of hills, brooks, standing lakes and groves;
+        And ye that on the sand, with printless foot
+        Do chase the ebbing Neptune, and do fly him
+        When he comes back.'
+
+    "The dance then begins, and continues in a fantastic, at
+    times grotesque and furious manner, the theme of the lovers
+    being interwoven at times, in an unobtrusive way. At length,
+    Caliban is heard approaching, singing his drunken song.
+
+        "''Ban, 'Ban, Ca-caliban
+        Has a new master: get a new man.'
+
+    "Ariel and his companions flit about, ridiculing, mocking,
+    and laughing at him; eventually prodding and pinching him
+    until, shivering, with aching joints, he staggers away. The
+    revelry then continues, the song of the lovers becoming more
+    and more prominent until, somewhat broadened out, it asserts
+    itself triumphantly above all, Ariel and his companions
+    flitting about, Prospero happy, and Caliban subjugated, all
+    the chief themes being united to form the climax and close of
+    the work."
+
+Although Pratt intentionally omitted the English horn and the bass
+clarinet, the scoring is remarkable for its color and faery. The work
+is highly lyrical in effect, and the woodsiness is beautifully
+established. The solemnity of Prospero, the adroitness of the lovers
+and the contrasting natures of the volatile Ariel and the sprawling
+Caliban, make up a cast of characters in the development of which
+music is peculiarly competent. The stertorous monologue of Caliban and
+his hobbling dance, and the taunting and pinching torment he is
+submitted to, make excellent humor.
+
+
+_Henry K. Hadley._
+
+[Illustration: HENRY K. HADLEY.]
+
+The word symphony has a terrifying sound, particularly when it is
+applied to a modern work; for latter-day music is essentially romantic
+in nature, and it is only a very rare composer that has the
+inclination or the ability to force the classic form to meet his new
+ideas. The result is that such a work usually lacks spontaneity,
+conviction. The modern writer does much better with the symphonic
+poem.
+
+The number of American symphonies worth listening to, could be counted
+on the fingers with several digits to spare. A new finger has been
+preëmpted by Henry K. Hadley's symphony called "Youth and Life." The
+title is doubly happy. Psychologically it is a study of the intense
+emotional life of youth, written by an American youth,--a young man
+who, by the way, strangely reminds one, in his appearance, of
+Macmonnies' American type, as represented by his ideal statue of
+Nathan Hale.
+
+And musically the work is imbued with both youth and life. It has
+blood and heart in it. The first movement is a conflict between good
+and evil motives struggling like the mediæval angels for the soul of
+the hero. The better power wins triumphantly. The second movement,
+however, shows doubt and despair, remorse and deep spiritual
+depression. The climax of this feeling is a death-knell, which,
+smitten softly, gives an indescribably dismal effect, and thrills
+without starting. Angelus bells in pedal-point continue through a
+period of hope and prayer; but remorse again takes sway. The ability
+to obtain this fine solemnity, and follow it with a scherzo of
+extraordinary gaiety, proves that a genius is at large among us. The
+Scherzo displays a thigh-slapping, song-singing _abandon_ that
+typifies youthful frivolity fascinatingly. A fugue is used
+incidentally with a burlesque effect that reminds one of Berlioz'
+"Amen" parody in the "Damnation of Faust." The Finale exploits motives
+of ambition and heroism, with a moment of love. The climax is
+vigorous. Without being at all ariose, the symphony is full of melody.
+Its melodies are not counterpoint, but expression; and each instrument
+or choir of instruments is an individuality.
+
+Hadley is galvanic with energy and optimism, dextrous to a remarkable
+degree in the mechanism of composition. His scoring is mature,
+fervent, and certain. His symphony is legitimately programmatic and
+alive with brains, biceps, and blood,--all three,--the three great B's
+of composition.
+
+Hadley was born at Somerville, Mass., in 1871. His father was a
+teacher of music and gave him immediate advantages. He studied harmony
+with Stephen A. Emery, counterpoint with G.W. Chadwick, and the
+violin with Henry Heindl and Charles N. Allen of Boston. Before
+attaining his majority, he had completed a dramatic overture, a string
+quartette, a trio, and many songs and choruses. In 1894 he went to
+Vienna and studied composition with Mandyczewski. Here he composed his
+third suite for the orchestra. In 1896 he returned to America and took
+charge of the music department of St. Paul's school at Garden City,
+L.I. He has had some experience as a conductor and has been very
+prolific in composition. His first symphony was produced under the
+direction of Anton Seidl, in December, 1897; and at a concert of his
+own compositions, again, in January, 1900, Hadley conducted this
+symphony, and also two movements from his second symphony, "The
+Seasons." These two movements show a mellower technic, perhaps, but
+are less vital. He has written three ballet suites with pronounced
+success, the work being musical and yet full of the ecstasy of the
+dance. His third ballet suite, which is the best, was produced at a
+concert of the American Symphony Orchestra, under Sam Franko.
+
+The existence of a festival march, a concert overture, "Hector and
+Andromache," two comic operas, and six songs for chorus and orchestra,
+besides a number of part songs and piano pieces, and over one hundred
+songs, forty of which are published, gives proof of the restless
+energy of the man. The high average of scholarship is a proof of his
+right to serious acceptance.
+
+A cantata for orchestra, "Lelewala," a legend of Niagara, is published
+for piano accompaniment. Now, Niagara is a dangerous subject for the
+frail skiffs of rhyme, prose, or music to launch out upon. Barrel
+staves may carry one through the whirlpool, but music staves cannot
+stand the stress. Of all the comments upon the Falls of Niagara that I
+have ever read, or heard of, there has been only one that seemed
+anything but ridiculously inappropriate; that one was the tribute of a
+young boy who, on standing face to face with the falls, simply
+exclaimed, in an awe-smothered whisper, "Well, by gosh!" But it must
+be admitted that these words would baffle the music-making
+propensities even of the composer of Händel's "Hallelujah Chorus."
+That learned composer, George F. Bristow, now dead, made the mistake
+of attempting to compass Niagara in a work for chorus and orchestra.
+Hadley is not exactly guilty of the same fatal attempt in his
+"Lelewala," for the poem is chiefly a story of love and sacrifice; but
+Niagara comes in as a programmatic incident, and the author of the
+text has fallen lamentably short of his subject in certain instances.
+In other moments, he has written with genuine charm, and the music has
+much that is worth while.
+
+Among his published songs are to be noted the unusually good setting
+of Heine's "Wenn ich in deine Augen seh'" and of his less often heard
+"Sapphire sind die Augen dein," and "Der Schmetterling ist in die Rose
+verliebt." A deservedly popular work is "I Plucked a Quill from
+Cupid's Wing." Among so many morose or school-bound composers, Hadley
+is especially important for the fact that he is thrilled with a sane
+and jubilant music.
+
+
+_Adolph M. Foerster._
+
+[Illustration: ADOLPH M. FOERSTER.]
+
+It has been fortunate for American song that it forsook the narrow,
+roystering school of English ballad and took for its national model
+the _Lied_ of the later German school. It is true that the earlier
+English had its poetry-respecting music in the work of such a man as
+Henry Lawes, or Purcell, just as it had its composers who far preceded
+Bach in the key-roving idea of the "Well-tempered Clavier;" but that
+spirit died out of England, and found its latest avatar in such men
+as Robert Franz, who confessed that he had his first and fullest
+recognition from this country.
+
+A correspondence with Franz was carried on for eighteen years by one
+of the solidest of American composers, Adolph M. Foerster, who gives
+distinction to the musical life of Pittsburg. He knew Franz
+personally, and has written an important appreciation of him for the
+magazine _Music_. Foerster was born at Pittsburg in 1854. After three
+years of commercial life, he took up music seriously, and spent the
+years from 1872 to 1875 at Leipzig,--studying the piano under Coccius
+and Wenzel, singing under Grill and Schimon, and theory under E.F.
+Richter and Papperitz. Returning to America, he connected himself with
+the Fort Wayne (Ind.) Conservatory of Music, then under the direction
+of the beneficent inventor of the Virgil Clavier. A year later he
+returned to Pittsburg, where he has since remained. For awhile he was
+conductor of a symphonic society and a choral union, which are no
+longer extant. Since, he has devoted himself to teaching and
+composition.
+
+Of Foerster's piano compositions opus 11 is a "Valse Brillante," warm
+and melodious. Opus 13 is a "Sonnet," based, after the plan of Liszt,
+upon a lyric of Petrarch's, a beautiful translation from his "Gli
+occhi di ch'io parlai si caldamente." It is full of passion, and shows
+a fine variety in the handling of persistent repetition. Opus 18
+couples two sonatinas. The second has the more merit, but both, like
+most sonatinas, are too trivial of psychology and too formal even to
+be recommended for children's exercises. "Eros" is a fluent melody,
+with a scherzesque second part.
+
+Opus 37 contains two concert études, both superb works. The first,
+"Exaltation," is very original, though neither the beginning nor the
+ending is particularly striking. The music between, however, has a
+fervor that justifies the title. This étude is, like those of Chopin,
+at the same time a technical study and a mood. The second, a
+"Lamentation," begins with a most sonorous downward harmony, with
+rushes up from the bass like the lessening onsets of a retreating
+tide. Throughout, the harmonies and emotions are remarkably profound
+and the climaxes wild. I should call it one of the best modern piano
+compositions.
+
+Twelve "Fantasy Pieces" are included in opus 38. They are short
+tone-poems. The second, "Sylvan Spirits," is fascinating, and "Pretty
+Marie" has an irresistibly gay melody. He has dedicated the six songs
+of opus 6 to Robert Franz. These are written in a close unarpeggiated
+style chiefly, but they are very interesting in their pregnant
+simplicity. In two cases they are even impressive: the well-known
+lyric, "Im Rhein, im heiligen Strome," and "Meeresstille." Opus 12 is
+a notable group of three songs: "Mists" is superbly harmonious. Opus
+25 includes "Ask Thou Not the Heather Gray," a rhapsody of the utmost
+ingenuity in melody and accompaniment. It has a catching blissfulness
+and a verve that make it one of the best American songs. Opus 28 is a
+book called "Among Flowers." The music is in every case good, and
+especially satisfactory in its emancipation from the Teutonism of
+Foerster's earlier songs. The song "Among the Roses" has a beautiful
+poem, which deserves the superb music. It ends hauntingly with an
+unresolved major ninth chord on the dominant of the dominant. So the
+frenzy of "In Blossom Time" is emotion of a human, rather than a
+botanical sort. "The Cradle Song" adapts the Siegfried Idyl, and the
+"Old Proverb" is rollicking. The two songs of opus 34 are fitted with
+words by Byron. The three songs of opus 44 also make use of this poet,
+now so little in vogue with composers. There are three songs in opus
+42: a pathetic "Little Wild Rose," and "By the Seaside," which is full
+of solemnity. "The Shepherd's Lament" is one of his best lyrics, with
+a strange accompaniment containing an inverted pedal-point in octaves.
+There are also several part songs.
+
+In larger forms, Mr. Foerster is even more successful. Opus 10 is a
+Character-piece for full orchestra, based on Karl Schäfer's poem,
+"Thusnelda." It is short but vigorous, and well unified. Opus 15 is a
+Fantasie for violin and piano, the piano having really the better of
+it. The treatment is very original, and the strong idea well
+preserved. Opus 21 is a Quartette for violin, viola, 'cello, and
+piano. The first movement begins solemnly, but breaks into an
+appassionato. All four instruments have an equal voice in the parley,
+and all the outbursts are emotional rather than contrapuntal. A climax
+of tremendous power is attained. The second movement omits the piano
+for a beautiful adagio. The third is an hilarious allegro, and the
+finale is an even gayer presto, with movements of sudden sobriety,
+suddenly swept away. Foerster calls this Quartette "far inferior" to a
+second one, opus 40. This, however, I have not seen; but I do not
+hesitate to call opus 21 a masterly work.
+
+Opus 24 is an "Albumblatt" for 'cello and piano. It is a wonderwork
+of feeling and deep richness of harmony, of absolute sincerity and
+inspiration. Opus 29 is a Trio for violin, 'cello, and piano. The
+three begin in unison, andante, whence the 'cello breaks away,
+followed soon by the others, into the joviality of a drinking bout.
+There is a military moment, a lyric of more seriousness, and a finish
+agitato. The second movement is a larghetto highly embroidered. The
+third movement is a vivace with the spirit of a Beethoven presto.
+
+Opus 36 is a suite for violin and piano, beginning with a most
+engaging and most skilful Novelette.
+
+In MS. are: an elaborate ballad, "Hero and Leander," which, in spite
+of an unworthy postlude and certain "Tristan und Isolde" memories, is
+ardent and vivid with passion; "Verzweifelung," which is bitter and
+wild with despair; a suite for piano (op. 46) containing a waltz as
+ingenious as it is captivating; and a finale called "Homage to
+Brahms." This is a remarkably clever piece of writing, which, while it
+lacks the Brahmsian trade-mark of thirds in the bass, has much of that
+composer's best manner, less in his tricks of speech than in his
+tireless development and his substitution of monumental thematicism
+for lyric emotion. In MS. is also a prelude to Goethe's "Faust" for
+full orchestra. It has very definite leading motives, which include
+"Faust's Meditations," "Visions of Margarethe," "Evil" and "Love"
+(almost inversions of each other), "Mephistopheles," and the like. The
+strife of these elements is managed with great cleverness, ending
+beatifically with the motive of Gretchen dying away in the wood-wind.
+
+An orchestral score that has been published is the Dedication March
+for Carnegie Hall in Pittsburg. It begins with a long fanfare of horns
+heard behind the scenes. Suddenly enters a jubilant theme beginning
+with Andrew Carnegie's initials, a worthy tribute to one to whom
+American music owes much.
+
+
+_Charles Crozat Converse._
+
+[Illustration: CHARLES CROZAT CONVERSE.]
+
+Musicians are not, as a class, prone to a various erudition (a
+compliment fully returned by the learned in other directions, who are
+almost always profoundly ignorant of the actual art of music). One of
+the rule-proving exceptions is Charles Crozat Converse, who has delved
+into many philosophies. An example of his versatility of interest is
+his coining of the word "thon" (a useful substitute for the ubiquitous
+awkwardness of "he or she" and "his or her"), which has been adopted
+by the Standard Dictionary.
+
+Converse' ancestry is American as far back as 1630. Converse was born
+at Warren, Mass., October 7, 1832. After being well grounded in
+English and the classics, he went, in 1855, to Germany. Here he
+studied law and philosophy, and music at the Conservatorium in
+Leipzig. He enjoyed the instruction of Richter, Hauptmann, Plaidy, and
+Haupt, and made the acquaintance of Liszt and Spohr. Spohr was
+especially interested in, and influential in, his work, and confident
+of its success.
+
+Returning to America, he graduated from the Law Department of Albany
+University in 1860, with the degree of LL.B. The B has since been
+dignified into a D, as a tribute to his unusual accomplishments.
+Converse declined the honor of a Doctorship of Music from the
+University of Cambridge, offered him by its professor, the well-known
+English composer, Sterndale Bennett, in recognition of his mastery of
+lore as evinced in a five-voiced double fugue that ends his
+Psalm-Cantata on the 126th Psalm.
+
+This scholarly work was performed under the direction of Theodore
+Thomas in 1888, at Chicago.
+
+A widely known contribution to religious music is Converse' hymn,
+"What a Friend We Have in Jesus," which has been printed, so they say,
+in all the tongues of Christendom, and sold to the extent of fifty
+millions of copies. This tune occupied a warm place in my
+Sunday-schoolboy heart, along with other singable airs of the Moody
+and Sankey type, but as I hum it over in memory now, it tastes
+sweetish and thin. Its popularity is appalling, musically at least.
+Converse has written many other hymn-tunes, which have taken their
+place among ecclesiastical soporifics. Besides, he has recently
+compiled a collection of the world's best hymns into the "Standard
+Hymnal." In this field Converse, though conventional,--and
+conventionality may be considered inevitable here,--is mellow of
+harmony and sincere in sentiment.
+
+Numberless attempts are made to supply our uncomfortable lack of a
+distinctly national air, but few of them have that first requisite, a
+fiery catchiness, and most of them have been so bombastic as to pall
+even upon palates that can endure Fourth of July glorification.
+Recognizing that the trouble with "America" was not at all due to the
+noble words written by the man whom "fate tried to conceal by naming
+him Smith," Converse has written a new air to this poem.
+Unfortunately, however, his method of varying the much-borrowed
+original tune is too transparent. He has not discarded the idea at
+all, or changed the rhythm or the spirit. He has only taken his tune
+upward where "God Save the Queen" moves down, and bent his melody down
+where the British soars up. This, I fancy, is the chief reason why his
+national hymn has gone over to the great majority, and has been
+conspicuously absent from such public occasions as torchlight parades
+and ratifications.
+
+Except the work issued under the alias "Karl Redan," or the anagrams,
+"C.O. Nevers" and "C.E. Revons," his only secular musics that have
+been put into print are his American Overture, published in Paris, and
+a book of six songs, published in Germany.
+
+Music is called the universal language, but it has strongly marked
+dialects, and sometimes a national flavor untranslatable to foreign
+peoples. So with these six songs, not the words alone are German. They
+are based on a Teutonic, and they modulate only from Berlin to
+Braunschweig and around to Leipzig. While the songs repay study, they
+are rather marked by a pianistic meditation than a strictly lyric
+emotion. "Aufmunterung zur Freude" is a tame allegretto; "Wehmuth" is
+better; "Täuschung" is a short elegy of passion and depth; "Ruhe in
+der Geliebten" is best in its middle strain where it is full of rich
+feeling and harmony. The ending is cheap. "Der gefangene Sänger" is
+only a slight variant at first on the "Adieu" credited to Schubert; it
+is thereafter excellent.
+
+Converse has a large body of music in manuscript, none of which I had
+the pleasure of examining save a tender sacred lullaby. There are two
+symphonies, ten suites, and concert overture, three symphonic poems,
+an oratorio, "The Captivity," six string quartettes, and a mass of
+psalmodic and other vocal writing.
+
+Of these works three have been produced with marked success: the
+"Christmas Overture," at one of the public concerts of the Manuscript
+Society, under the direction of Walter Damrosch; the overture "Im
+Frühling," at concerts in Brooklyn and New York, under the baton of
+Theodore Thomas; and the American overture, "Hail Columbia!" at the
+Boston Peace Jubilee under Patrick Gilmore, at the Columbian
+Exposition under Thomas, and in New York under Anton Seidl.
+
+This last overture received the distinction of publication at Paris,
+by Schott et Cie. It is built on the rousing air of "Hail, Columbia!"
+This is suggested in the slow minor introduction; the air itself is
+indicated thematically as one of the subjects later appearing in full
+swing in a coda. The instrumentation is brilliant and the climax
+overwhelming.
+
+Altogether the work is more than adroit musical composition. It is a
+prairie-fire of patriotism.
+
+
+_L.A. Coerne._
+
+[Illustration: LOUIS ADOLPHE COERNE.]
+
+A grand opera by an American on an American subject is an achievement
+to look forward to. Though I have not seen this opera, called "A
+Woman of Marblehead," it is safe to predict, from a study of its
+composer's other works, that it is a thing of merit.
+
+Louis Adolphe Coerne, who wrote the music for this opera, was born in
+Newark, N.J., in 1870, and spent the years from six to ten in music
+study abroad, at Stuttgart and Paris. Returning to America, he entered
+Harvard College and studied harmony and composition under John Knowles
+Paine. He studied the violin under Kneisel. In 1890 he went to Munich,
+where he studied the organ and composition at the Royal Academy of
+Music, under Rheinberger, and the violin under Hieber. He now decided
+to give up the career of a violinist for that of composer, conductor,
+and organist. In 1893 he returned to Boston and acted as organist. A
+year later he went to Buffalo, where for three years he directed the
+Liedertafel.
+
+While in Harvard, Coerne had composed and produced a concerto for
+violin and 'cello with string orchestra accompaniment, a fantasy for
+full orchestra, and a number of anthems which were performed at the
+university chapel. While in Munich and Stuttgart he wrote and produced
+a string suite, an organ concerto with accompaniment of strings,
+horns, and harps, three choral works, and a ballet, "Evadne," on a
+subject of his own. His symphonic poem on Longfellow's "Hiawatha" was
+also produced there with much success under his personal direction,
+and later by the Boston Symphony Orchestra. He was invited then by
+Theodore Thomas to attend the World's Fair at Chicago, to give
+recitals on the great organ in Festival Hall.
+
+It has been my misfortune not to have heard or seen hardly any of his
+writings except the published "Character Pieces" from the ballet
+"Evadne" (op. 155). A "Clown's Dance" in bolero rhythm is delightful.
+The "Introduction to Act II." contains many varied ideas and one
+passage of peculiar harmonic beauty. A "Valse de Salon" has its good
+bits, but is rather overwrought. A "Devil's Dance" introduces some
+excellent harmonic effects, but the "Waltz with Chorus and Finale" is
+the best number of the opus. It begins in the orchestra with a most
+irresistible waltz movement that is just what a waltz should be. A
+chorus is then superimposed on this rhapsody, and a climax of superb
+richness attained.
+
+For the organ Coerne has written much and well. There is an adaptation
+of three pieces from the string quartette (op. 19); a graceful Minuet,
+a quaint Aria, and a Fugue. Then there are three Marches, which, like
+most marches written by contemplative musicians, are rather thematic
+than spirited, and marked by a restless and elaborate preparation for
+some great chant that is longed for, but never comes. Besides these,
+there are a very pleasant Pastoral, a good Elevation, and a Nocturne.
+
+Coerne's symphonic poem, "Hiawatha," has been arranged for the piano
+for four hands, and there is also an arrangement for violin or
+violoncello and piano, but I have not seen these. The thing we are all
+waiting for is that American grand opera, "A Woman of Marblehead." It
+is to be predicted that she will not receive the marble heart.
+
+
+
+
+CHAPTER IV.
+
+THE COLONISTS.
+
+
+Art does not prosper as hermit. Of course, every great creator has a
+certain aloofness of soul, and an inner isolation; but he must at
+times submit his work to the comparison of his fellow artists; he must
+profit by their discoveries as well as their errors; he must grow
+overheated in those passionate musical arguments that never convince
+any one out of his former belief, and serve salutarily to raise the
+temper, cultivate caloric, and deepen convictions previously held; he
+must exchange criticisms and discuss standards with others, else he
+will be eternally making discoveries that are stale and unprofitable
+to the rest of the world; he will seek to reach men's souls through
+channels long dammed up, and his achievements will be marred by naïve
+triteness and primitive crudeness.
+
+So, while the artistic tendency may be a universal nervous system,
+artists are inclined to ganglionate. The nerve-knots vary in size and
+importance, and one chief ganglion may serve as a feeding brain, but
+it cannot monopolize the activity. In America, particularly, these
+ganglia, or colonies, are an interesting and vital phase of our
+development. For a country in which the different federated states
+are, many of them, as large as old-world kingdoms, it is manifestly
+impossible for any one capital to dominate. Furthermore, the national
+spirit is too insubordinate to accept any centre as an oracle.
+
+New York, which has certainly drawn to itself a preponderance of
+respectable composers, has yet been unable to gather in many of the
+most important, and like the French Academy, must always suffer in
+prestige because of its conspicuous absentees. In the second place,
+New York is the least serious and most fickle city in the country, and
+is regarded with mingled envy and patronage by other cities.
+
+Boston is even more unpopular with the rest of the country. And New
+York and other cities have enticed away so many of the leading spirits
+of her musical colony, that she cannot claim her once overwhelming
+superiority. And yet, Boston has been, and is, the highest American
+representative of that much abused term, culture. Of all the arts,
+music doubtless gets her highest favor.
+
+The aid Boston has been to American music is vital, and far outweighs
+that of any other city. That so magnificent an organization as its
+Symphony Orchestra could be so popular, shows the solidity of its
+general art appreciations. The orchestra has been remarkably willing,
+too, to give the American composer a chance to be heard. Boston has
+been not only the promulgator, but in a great measure the tutor, of
+American music.
+
+In Boston-town, folk take things seriously and studiously. In New York
+they take them fiercely, whimsically. Like most generalizations, this
+one has possibly more exceptions than inclusions. But it is
+convenient.
+
+It is convenient, too, to group together such of the residents of
+these two towns, as I have not discussed elsewhere. The Chicago
+coterie makes another busy community; and St. Louis and Cleveland have
+their activities of more than intramural worth; Cincinnati, which was
+once as musically thriving as its strongly German qualities
+necessitated, but which had a swift and strange decline, seems to be
+plucking up heart again. For this, the energy of Frank van der Stucken
+is largely to credit. Aside from the foreign-born composers there, one
+should mention the work of Richard Kieserling, Jr., and Emil Wiegand.
+The former went to Europe in 1891 and studied at the Leipzig
+Conservatory, under Reinecke, Homeyer, Rust, Schreck and Jadassohn. He
+also studied conducting under Sitt. At his graduation, he conducted a
+performance of his own composition, "Jeanne d'Arc." He returned to his
+native city, Cincinnati, in 1895, where he has since remained,
+teaching and conducting. Among his works, besides piano pieces and
+songs, are: "A May Song," for women's chorus and piano; six pieces for
+violin and piano; "Harold," a ballad for male chorus, barytone solo,
+and orchestra; "Were It Not For Love," composed for male chorus;
+several sets of male choruses; a motet for mixed chorus a cappella; a
+berceuse for string orchestra, an introduction and rondo for violin
+and orchestra; and a "Marche Nuptiale," for grand orchestra.
+
+Emil Wiegand was also born in Cincinnati, and had his first tuition on
+the violin from his father. His theoretical studies have been received
+entirely in Cincinnati. He is a member of the local Symphonic
+Orchestra, and has composed an overture for grand orchestra, a string
+quartette, and various pieces for the violin, piano, and voice.
+
+In San Francisco there is less important musical composition than
+there was in the days when Kelley and Page were active there. The work
+of H.B. Pasmore is highly commended by _cognoscenti_, as are also the
+works of Frederick Zeck, Jr., who was born in San Francisco, studied
+in Germany, and has composed symphonies, a symphonic poem, "Lamia," a
+romantic opera, and other works; Samuel Fleischmann, born in
+California and educated abroad, a concert pianist, who has written,
+among other things, an overture, "Hero and Leander," which was
+performed in New York; and P.C. Allen, who studied in Europe, and has
+written well.
+
+But the larger cities do not by any means contain all the worthy
+composition. In many smaller cities, and in a few villages even, can
+be found men of high culture and earnest endeavor.
+
+In Yonkers, New York, is Frederick R. Burton, who has written a
+dramatic cantata on Longfellow's "Hiawatha," which has been frequently
+performed. In this work use is made of an actual Indian theme, which
+was jotted down by H.E. Krehbiel, and is worked up delightfully in
+the cantata, an incessant thudding of a drum in an incommensurate
+rhythm giving it a decidedly barbaric tone. The cantata contains also
+a quaint and touching contralto aria, and a pathetic setting of the
+death-song of Minnehaha. Burton is a graduate of Harvard, and a writer
+as well as a composer. He organized, in 1896, the Yonkers Choral
+Society, of which he is conductor.
+
+At Hartford, Conn., is Nathan H. Allen, who was born in Marion, Mass.,
+in 1848. In 1867 he went to Berlin, where he was a pupil of Haupt for
+three years. In this country he has been active as an organist and
+teacher. Many of his compositions of sacred music have been published,
+including a cantata, "The Apotheosis of St. Dorothy."
+
+At Providence, R.I., a prominent figure is Jules Jordan, who was born
+at Willimantic, Conn., November 10, 1850, of colonial ancestry. Though
+chiefly interested in oratorio singing, in which he has been
+prominent, he has written a number of songs, some of which have been
+very popular. The best of these are a rapturous "Love's Philosophy," a
+delicious "Dutch Lullaby," "An Old Song," and "Stay By and Sing." He
+has written some religious songs, part songs, and three works for
+soli, chorus, and orchestra, "Windswept Wheat," "A Night Service," and
+"Barbara Frietchie;" also "Joel," a dramatic scene for soprano and
+orchestra, sung at the Worcester Musical Festival by Mme. Nordica.
+This I have not seen, nor his romantic opera, "Rip Van Winkle." In
+June, 1895, Brown University conferred on him the degree of Doctor of
+Music. Two albums of his songs are published.
+
+A writer of many religious solos and part songs is E.W. Hanscom, who
+lives in Auburn, Me. He was born at Durham, in the same State,
+December 28, 1848. He has made two extended visits to London, Berlin
+and Vienna, for special work under eminent teachers, but has chiefly
+studied in Maine. Besides his sacred songs Hanscom has published a
+group of six songs, all written intelligently, and an especially good
+lyric, "Go, Rose, and in Her Golden Hair," a very richly harmonized
+"Lullaby," and two "Christmas Songs," with violin obbligato.
+
+In Delaware, Ohio, at the Ohio Wesleyan University, is a composer,
+Willard J. Baltzell, who has found inspiration for many worthy
+compositions, but publishers for only two, both of these part songs,
+"Dreamland" and "Life is a Flower," of which the latter is very
+excellent writing.
+
+Baltzell was for some years a victim of the musical lassitude of
+Philadelphia. He had his musical training there. He has written in the
+large forms a suite founded on Rossetti's "Love's Nocturne," an
+overture, "Three Guardsmen," a "Novelette" for orchestra, a cantata,
+"The Mystery of Life," and an unfinished setting of Psalm xvii. with
+barytone solo. These are all scored for orchestra, and the manuscript
+that I have seen shows notable psychological power. Other works are: a
+string quartette, a trio, "Lilith," based on Rossetti's poem, "Eden
+Bower," a nonet, and a violin sonata. He has also written for the
+piano and organ fugues and other works. These I have not seen; but I
+have read many of his songs in manuscript, and they reveal a
+remarkable strenuousness, and a fine understanding of the poetry. His
+song, "Desire," is full of high-colored flecks of harmony that dance
+like the golden motes in a sunbeam. His "Madrigal" has much style and
+humor. He has set to music a deal of the verse of Langdon E. Mitchell,
+besides a song cycle, "The Journey," which is an interesting
+failure,--a failure because it cannot interest any public singer, and
+interesting because of its artistic musical landscape suggestion; and
+there are the songs, "Fallen Leaf," which is deeply morose, and
+"Loss," which has some remarkable details and a strange, but
+effective, ambiguous ending. Other songs are a superbly rapturous
+setting of E.C. Stedman's "Thou Art Mine," and a series of songs to
+the words of Richard Watson Gilder, a poet who is singularly
+interesting to composers: "Thistledown" is irresistibly volatile;
+"Because the Rose Must Fade" has a nobility of mood; "The Winter
+Heart" is a powerful short song, and "Woman's Thought," aside from one
+or two dangerous moments, is stirring and intense. Baltzell writes
+elaborate accompaniments, for which his skill is sufficient, and he is
+not afraid of his effects.
+
+In the far Xanadu of Colorado lives Rubin Goldmark, a nephew of the
+famous Carl Goldmark. He was born in New York in 1872. He attended the
+public schools and the College of the City of New York. At the age of
+seven he began the study of the piano with Alfred M. Livonius, with
+whom he went to Vienna at the age of seventeen. There he studied the
+piano with Anton Door, and composition with Fuchs, completing in two
+years a three years' course in harmony and counterpoint. Returning to
+New York, he studied with Rafael Joseffy and with Doctor Dvôrák for
+one year. In 1892 he went to Colorado Springs for his health. Having
+established a successful College of Music there, he has remained as
+its director and as a lecturer on musical topics.
+
+At the age of nineteen he wrote his "Theme and Variations" for
+orchestra. They were performed under Mr. Seidl's leadership in 1895
+with much success. Their harmonies are singularly clear and sweet, of
+the good old school. At the age of twenty Goldmark wrote a trio for
+piano, violin, and 'cello. After the first performance of this work at
+one of the conservatory concerts, Doctor Dvôrák exclaimed, "There are
+now two Goldmarks." The work has also had performance at the concerts
+of the Kaltenborn Quartette, and has been published. It begins with a
+tentative questioning, from which a serious allegro is led forth. It
+is lyrical and sane, though not particularly modern, and certainly not
+revolutionary in spirit. The second movement, a romanza, shows more
+contrapuntal resource, and is full of a deep yearning and appeal,--an
+extremely beautiful movement. The scherzo evinces a taking jocosity
+with a serious interval. The piano part is especially humorous. The
+finale begins with a touch of Ethiopianism that is perhaps
+unconscious. The whole movement is very original and quaint.
+
+Goldmark's music shows a steady development from a conservative
+simplicity to a modern elaborateness, a development thoroughly to be
+commended if it does not lead into obscurity. This danger seems to
+threaten Goldmark's career, judging from his cantata for chorus and
+orchestra, the "Pilgrimage to Kevlaar," which, while highly
+interesting in places, and distinctly resourceful, is too abstruse and
+gloomy to stand much chance of public understanding.
+
+Many of the works that I have had the privilege of examining in MS.
+have since been published; there is much originality, much attainment,
+and more promise in a number of his songs. His setting of Marlowe's
+"Come Live with Me," in spite of a few eccentricities, shows, on the
+whole, a great fluency of melody over an elaborately beautiful
+accompaniment. His solemn and mysterious "Forest Song" could deserve
+the advertisement of being "drawn from the wood." "Die erste Liebe"
+shows a contemplative originality in harmony, and ends with a curious
+dissonance and resolution. "O'er the Woods' Brow" is very strange and
+interesting, though somewhat abstruse. Less so is a song, "An den
+Abendsstern;" it has a comparison-forcing name, but is a delightful
+song. "Es muss ein Wunderbares sein" is notable for novel effects in
+harmonies of crystal with light dissonances to edge the facets. A
+sonata for piano and violin and a romanza for 'cello have been
+published, and his "Hiawatha" overture has been played by the Boston
+Symphony Orchestra. On this occasion the always quoteworthy
+mezzotintist, James Huneker, wrote:
+
+    "The nephew of a very remarkable composer,--for Carl Goldmark
+    outranks to-day all the Griegs, Massenets, Mascagnis,
+    Saint-Saëns, and Dvôráks you can gather,--he needs must fear
+    the presence in his scores of the avuncular apparition. His
+    'Hiawatha' overture was played by Mr. Gericke and the Boston
+    Symphony Orchestra Wednesday of last week. At the first
+    cantilena on the strings I nearly jumped out of my seat. It
+    was bewilderingly luscious and Goldmarkian,--a young Goldmark
+    come to judgment. The family gifts are color and rhythm. This
+    youth has them, and he also has brains. Original invention is
+     yet to come, but I have hopes. The overture, which is not
+    Indian, is full of good things, withal too lengthy in the
+    free fantasia. There is life, and while there's life there's
+    rhythm, and a nice variety there is. The allegro has one
+    stout tune, and the rush and dynamic glow lasts. He lasts,
+    does Rubin Goldmark, and I could have heard the piece through
+    twice. The young American composer has not been idle lately."
+
+
+_The New York Colony._
+
+In every period where art is alive there must be violent faction, and
+wherever there is violent faction there is sure to be a _tertium quid_
+that endeavors to bridge the quarrel. The Daniel Websters call forth
+the Robert Haynes, and the two together evoke the compromisers, the
+Henry Clays.
+
+In the struggle between modernity and classicism that always rages
+when music is in vitality, one always finds certain ardent spirits who
+endeavor to reconcile the conflicting theories of the different
+schools, and to materialize the reconciliation in their own work. An
+interesting example of this is to be found in the anatomical
+construction of one of the best American piano compositions, the
+fantasy for piano and orchestra by Arthur Whiting.
+
+The composer has aimed to pay his respects to the classic sonata
+formula, and at the same time to warp it to more romantic and modern
+usages. The result of his experiment is a form that should interest
+every composer. As Whiting phrases it, he has "telescoped" the sonata
+form. The slow introduction prepares for the first and second
+subjects, which appear, as usual, except that they are somewhat
+developed as they appear. Now, in place of the regular development,
+the pastoral movement is brought forward. This is followed by the
+reprise of the first and second subjects. Then the finale appears. All
+of these movements are performed without pause, and the result is so
+successful that Whiting is using the same plan for a quintette.
+
+Handwriting experts are fond of referring to the "picture effect" of a
+page of writing. It is sometimes startling to see the resemblance in
+"picture effect" between the music pages of different composers. The
+handsomely abused Perosi, for instance, writes many a page, which, if
+held at arm's length, you would swear was one of Palestrina's. Some of
+Mr. Whiting's music has a decidedly Brahmsic picture effect. This
+feeling is emphasized when one remembers the enthusiasm shown for
+Brahms in Whiting's concerts, where the works of the Ursus Minor of
+Vienna hold the place of honor. The resemblance is only skin deep,
+however, and Whiting's music has a mind of its own.
+
+The fantasy in question (op. 11) is full of individuality and
+brilliance. The first subject is announced appassionato by the
+strings, the piano joining with arabesquery that follows the general
+outlines. After this is somewhat developed, the second subject comes
+in whimsically in the relative major. This is written with great
+chromatic lusciousness, and is quite liberally developed. It suddenly
+disappears into what is ordinarily called the second movement, a
+pastoral, in which the piano is answered by the oboe, flute, clarinet,
+and finally the horn. This is gradually appassionated until it is
+merged into the reprise of the first movement proper. During this
+reprise little glints of reminiscence of the pastoral are seen. A coda
+of great bravery leads to the last movement, which is marked
+"scherzando," but is rather martial in tone. The decidedly noble
+composition ends with great brilliancy and strength. It is published
+for orchestral score and for two pianos.
+
+Whiting was born in Cambridge, Mass., June 20, 1861. He studied the
+piano with William H. Sherwood, and has made a successful career in
+concert playing with the Boston Symphony Orchestra and the Kneisel
+Quartette, both of which organizations have performed works of his. In
+1883 he went to Munich for two years, where he studied counterpoint
+and composition with Rheinberger. He is now living in New York as a
+concert pianist and teacher.
+
+[Music: Idylle.
+
+Arthur Whiting.
+
+Copyright, 1895, by G. Schirmer.
+
+A FRAGMENT.]
+
+Four works of his for the piano are: "Six Bagatelles," of which the
+"Caprice" has a charming infectious coda, while the "Humoreske" is
+less simple, and also less amusing. The "Album Leaf" is a pleasing
+whimsy, and the "Idylle" is as delicate as fleece. Of the three
+"Characteristic Waltzes," the "Valse Sentimentale" is by far the most
+interesting. It manages to develop a sort of harmonic haze that is
+very romantic.
+
+For the voice, Whiting has written little. Church music interests him
+greatly, and he has written various anthems, a morning and evening
+service, which keeps largely to the traditional colors of the
+Episcopal ecclesiastical manner, yet manages to be fervent without
+being theatrical. A trio, a violin sonata, and a piano quintette, a
+suite for strings, and a concert overture for orchestra complete the
+list of his writings.
+
+On the occasion of a performance of Whiting's "Fantasy," Philip Hale
+thus picturesquely summed him up:
+
+    "In times past I have been inclined to the opinion that when
+    Mr. Whiting first pondered the question of a calling he must
+    have hesitated between chess and music. His music seemed to
+    me full of openings and gambits and queer things contrived as
+    in a game. He was the player, and the audience was his
+    antagonist. Mr. Whiting was generally the easy conqueror. The
+    audience gave up the contest and admired the skill of the
+    musician.
+
+    "You respected the music of Mr. Whiting, but you did not feel
+    for it any personal affection. The music lacked humanity. Mr.
+    Whiting had, and no doubt has, high ideals. Sensuousness in
+    music seemed to him as something intolerable, something
+    against public morals, something that should be suppressed
+    by the selectmen. Perhaps he never went so far as to petition
+    for an injunction against sex in music; but rigorous
+    intellectuality was his one aim. He might have written A
+    Serious Call to Devout and Holy Composition, or A Practical
+    Treatise upon Musical Perfection, to which is now added, by
+    the same author, The Absolute Unlawfulness of the Stage
+    Entertainment Fully Demonstrated.
+
+    "There was almost intolerance in Mr. Whiting's musical
+    attitude. He himself is a man of wit rather than humor, a man
+    with a very pretty knack at sarcasm. He is industrious,
+    fastidious, a severe judge of his own works. As a musician he
+    was even in his dryest days worthy of sincere respect.
+
+    "Now this fantasia is the outward and sure expression of a
+    change in Mr. Whiting's way of musical thinking, and the
+    change is decidedly for the better. There is still a display
+    of pure intellectuality; there is still a solving of
+    self-imposed problems; but Mr. Whiting's musical enjoyment is
+    no longer strictly selfish. Here is a fantasia in the true
+    sense of the term; form is here subservient to fancy. The
+    first movement, if you wish to observe traditional
+    terminology, is conspicuous chiefly for the skill, yes,
+    fancy, with which thematic material of no marked apparent
+    inherent value is treated. The pastorale is fresh and
+    suggestive. The ordinary pastorale is a bore. There is the
+    familiar recipe: take an oboe the size of an egg, stir it
+    with a flute, add a little piano, throw in a handful of
+    muted strings, and let the whole gently simmer in a 9-8
+    stew-pan. But Mr. Whiting has treated his landscape and
+    animal kingdom with rare discretion. The music gave pleasure;
+    it soothed by its quiet untortured beauty, its simplicity,
+    its discretion. And in like manner, without receiving or
+    desiring to receive any definite, precise impression, the
+    finale interested because it was not a hackneyed form of
+    brilliant talk. The finale is something more than clever, to
+    use a hideous term that I heard applied to it. It is
+    individual, and this praise may be awarded the whole work.
+    Remember, too, that although this is a fantasia, there is not
+    merely a succession of unregulated, uncontrolled, incoherent
+    sleep-chasings.
+
+    "In this work there is a warmer spirit than that which
+    animated or kept alive Mr. Whiting's former creations. There
+    is no deep emotion, there is no sensuousness, there is no
+    glowing color, no 'color of deciduous days.' These might be
+    incongruous in the present scheme. But there is a more
+    pronounced vitality, there is a more decided sympathy with
+    the world and men and women; there is more humanity.
+
+    "The piano is here an orchestral instrument, and as such it
+    was played admirably by Mr. Whiting. His style of playing is
+    his own, even his tone seems peculiarly his own, with a
+    crispness that is not metallic, with a quality that deceives
+    at first in its carrying power. His performance was
+    singularly clean and elastic, its personality was refreshing.
+    He played the thoughts of Mr. Whiting in Mr. Whiting's way.
+    And thus by piece and performance did he win a legitimate
+    success."
+
+[Illustration: HENRY HOLDEN HUSS.]
+
+Many American composers have had their first tuition from their
+mothers; few from their fathers. Mr. Huss is one of the latter few.
+The solidity of his musical foundation bespeaks a very correct
+beginning. He was born in Newark, N.J., June 21, 1862. His first
+teacher in the theory of music was Otis B. Boise, who has been for the
+last twenty years a teacher of theory in Berlin, though he was born in
+this country. Huss went to Munich in 1883 and remained three years. He
+studied counterpoint under Rheinberger, and won public mention for
+proficiency. At his second examination his idyl for small orchestra,
+"In the Forest," was produced; and at his graduation he performed his
+"Rhapsody" in C major for piano and orchestra. A year after his return
+to America this work was given by the Boston Symphony Orchestra. A
+year later Van der Stucken gave it at the first of his concerts of
+American compositions. The next year Huss' "Ave Maria," for women's
+voices, string orchestra, harp, and organ, was given a public hearing.
+The next year he gave a concert of his own works, and the same year,
+1889, Van der Stucken produced his violin romance and polonaise for
+violin and orchestra at the Paris Exposition.
+
+His piano concerto for piano and orchestra he played first with the
+Boston Symphony Orchestra in 1894, and has given it on numerous
+occasions since.
+
+Other works, most of which have also been published, are: "The
+Fountain," for women's voices a cappella; a festival "Sanctus," for
+chorus and orchestra; an "Easter Theme," for chorus, organ, and
+orchestra; "The Winds," for chorus and orchestra, with soprano and
+alto solos; a "Festival March," for organ and orchestra; a concerto
+for violin, and orchestra; a trio for piano, violin, and 'cello; a
+"Prélude Appassionata," for the piano, dedicated to and played by Miss
+Adèle aus der Ohe, to whom the concerto is also dedicated.
+
+This concerto, which is in D major, is a good example of the
+completeness of Huss' armory of resources. The first movement has the
+martial pomp and hauteur and the Sardanapalian opulence and color that
+mark a barbaric triumph. Chopin has been the evident model, and the
+result is always pianistic even at its most riotous point. Huss has
+ransacked the piano and pillaged almost every imaginable fabric of
+high color. The great technical difficulties of the work are entirely
+incidental to the desire for splendor. The result is gorgeous and
+purple. The andante is hardly less elaborate than the first movement,
+but in the finale there is some laying off of the _impedimenta_ of the
+pageant, as if the paraders had put aside the magnificence for a
+period of more informal festivity. The spirit is that of the scherzo,
+and the main theme is the catchiest imaginable, the rhythm curious and
+irresistible, and the entire mood saturnalian. In the coda there is a
+reminder of the first movement, and the whole thing ends in a blaze of
+fireworks.
+
+On the occasion of its first performance in Cincinnati, in 1889,
+Robert I. Carter wrote:
+
+    "It is preëminently a symphonic work, in which the piano is
+    used as a voice in the orchestra, and used with consummate
+    skill. The charm of the work lies in its simplicity. The
+    pianist will tell you at once that it is essentially
+    pianistic, a term that is much abused and means little. The
+    traditional cadenza is there, but it is not allowed to step
+    out of the frame, and so perfect is the relation to what
+    precedes and follows, that the average listener might claim
+    that it does not exist. Without wishing to venture upon any
+    odious grounds of comparison, I want to state frankly that it
+    is, to me, emphatically the best American concerto."
+
+Huss is essentially a dramatic and lyric composer, though he seems to
+be determined to show himself also a thematic composer of the old
+school. In his trio, which I heard played by the Kaltenborn Quartette,
+both phases of his activity were seen. There was much odor of the lamp
+about the greater part of the trio, which seemed generally lacking
+that necessary capillarity of energy which sometimes saturates with
+life-sap the most formal and elaborate counterpoint of the
+pre-romantic strata. The andante of the trio, however, displayed Huss'
+singularly appealing gift of song. It abounded in emotion, and was--to
+use the impossible word Keats coined--"yearnful." Huss should write
+more of this sort of music. We need its rare spontaneity and truth, as
+we do not need the all too frequent mathematics of those who compose,
+as Tybalt fought, "by the book."
+
+For the piano there are "Three Bagatelles:" an "Étude Melodique,"
+which is rather harmonic than melodic; an "Albumblatt," a graceful
+movement woven like a Schumann arabesque; and a "Pastoral," in which
+the gracefulness of the music given to the right hand is annulled by
+the inexplicable harshness of that given to the left.
+
+For the voice, there is, of course, a setting of "Du bist wie eine
+Blume," which, save for the fact that it looks as if the accompaniment
+were written first, is a very pure piece of writing. The "Song of the
+Syrens" is a strong composition with a big climax, the "Jessamine Bud"
+is extremely delicate, and "They that Sow in Tears" has much dignity.
+There are two songs from Tennyson, "There is Sweet Music Here" and
+"Home They Brought Her Warrior Dead," with orchestral accompaniment.
+
+By all odds the most important, and a genuinely improved composition
+is the aria for soprano and orchestra, "The Death of Cleopatra." The
+words are taken from Shakespeare's play and make use of the great
+lines given to the dying Egypt, "Give me my robe, put on my crown, I
+have immortal longings in me," and the rest. The music not only pays
+all due reverence to the sacred text, but is inspired by it, and
+reaches great heights of fervor and tragedy. From Shakespeare, Huss
+drew the afflation for another aria of great interest, a setting for
+barytone voice of the "Seven Ages of Man." The problems attending the
+putting to music of Shakespeare's text are severe; but the plays are
+gold mines of treasure for the properly equipped musician.
+
+A vivid example of the difficulties in the way of American composers'
+securing an orchestral hearing is seen in the experience of Howard
+Brockway, who had a symphony performed in 1895 by the Berlin
+Philharmonic Orchestra, and has been unable to get a hearing or get
+the work performed in America during the five years following, in
+spite of the brilliancy of the composition. The scoring of the work is
+so mature that one can see its skill by a mere glance at the page from
+a distance. When the work was performed in Germany, it was received
+with pronounced favor by the Berlin critics, who found in it a
+conspicuous absence of all those qualities which the youth of the
+composer would have made natural.
+
+Brockway was born in Brooklyn, November 22, 1870, and studied piano
+with H.O.C. Kortheuer from 1887 to 1889. He went to Berlin at the
+age of twenty and studied the piano with Barth, and composition with
+O.B. Boise, the transplanted American. Boise gave Brockway so
+thorough a training that he may be counted one of the most fluent and
+completely equipped American composers. At the age of twenty-four he
+had finished his symphony (op. 12), a ballade for orchestra (op. 11),
+and a violin and piano sonata (op. 9), as well as a cavatina for
+violin and orchestra. These, with certain piano solos, were given at a
+concert of Brockway's own works in February, 1895, at the
+Sing-Akademie. His works were accepted as singularly mature, and
+promising as well. A few months later, Brockway returned to New York,
+where he has since lived as a teacher and performer.
+
+His symphony, which is in D major, is so ebullient with life that its
+dashing first subject cannot brook more than a few measures of slow
+introduction. The second subject is simpler, but no less joyous. The
+thematic work is scholarly and enthusiastic at the same time. The
+different movements of the symphony are, however, not thematically
+related, save that the coda of the last movement is a reminiscence of
+the auxiliary theme of the first movement. The andante, in which the
+'cellos are very lyrical, is a tender and musing mood. The presto is
+flashing with life and has a trio of rollicking, even whooping,
+jubilation. The finale begins gloomily and martially, and it is
+succeeded by a period of beauty and grace. This movement, in fact, is
+a remarkable combination of the exquisitest beauty and most
+unrestrained prowess.
+
+Another orchestral work of great importance in American music is the
+"Sylvan Suite" (op. 19), which is also arranged for the piano. In this
+work the composer has shown a fine discretion and conservation in the
+use of the instruments, making liberal employment of small choirs for
+long periods. The work is programmatic in psychology only. It begins
+with a "Midsummer Idyl," which embodies the drowsy petulance of hot
+noon. The second number is "Will o' the Wisps." In this a three-voiced
+fugue for the strings, wood, and one horn has been used with
+legitimate effect and most teasing, fleeting whimsicality. The third
+movement is a slow waltz, called "The Dance of the Sylphs," a very
+catchy air, swaying delicately in the bassoons and 'cello; a short
+"Evening Song" is followed by "Midnight." This is a parade that
+reminds one strongly of Gottschalk's "Marche de Nuit." The march
+movement is followed by an interlude depicting the mystery of night,
+as Virgil says, "_tremulo sub lumine_." The composer has endeavored to
+indicate the chill gray of dawn by the ending of this movement: a
+chord taken by two flutes and the strings shivering _sul ponticello_.
+The last movement is "At Daybreak." Out of the gloom of the bassoons
+grows a broad and general luminous song followed by an interlude of
+the busy hum of life; this is succeeded by the return of the sunrise
+theme with a tremendously vivacious accompaniment.
+
+Other works of Brockway's are: a cantata, a set of variations, a
+ballade, a nocturne, a Characterstück, a Fantasiestück, a set of four
+piano pieces (op. 21), and two piano pieces (op. 25). All of these,
+except the cantata, have been published. Two part songs and two songs
+with piano accompaniment have also been published; a violin sonata, a
+Moment Musicale, and a romanza for violin and orchestra have been
+published in Berlin.
+
+These works all show a decided tendency to write brilliant and
+difficult music, but the difficulties are legitimate to the effect and
+the occasion. The Ballade works up a very powerful climax; the
+Scherzino swishes fascinatingly; and the Romanza for piano is a
+notably mature and serious work.
+
+[Music: Copyright, 1894, by Schlesinger'sche Buch und Musikhandlung
+(Rob. Lienau), Berlin.
+
+FRAGMENT OF A "BALLADE" BY HOWARD BROCKWAY.]
+
+Two ballads have made the so romantic name of Harry Rowe Shelley a
+household word in America. They are the setting of Tom Moore's fiery
+"Minstrel Boy," and a strange jargon of words called "Love's Sorrow."
+In both cases the music is intense and full of fervor, and quick
+popularity rarely goes out to more worthy songs.
+
+[Illustration: Autograph of Harry Rowe Shelley]
+
+[Illustration: HARRY ROWE SHELLEY.]
+
+But Shelley would doubtless prefer to be judged by work to which he
+has given more of his art and his interest than to the many songs that
+he has tossed off in the light name of popularity.
+
+Shelley's life has been largely devoted to church work. Born in New
+Haven, Conn., June 8, 1858, and taught music by Gustav J. Stoeckel, he
+came under the tuition of Dudley Buck for seven years. His twentieth
+year found him an organist at New Haven. Three years later he went to
+Brooklyn in the same capacity. He was the organist at Plymouth Church
+for some time before Henry Ward Beecher's death. Since 1887 he has
+been at the Church of the Pilgrims. He visited Europe in 1887 and
+studied under Dvôrák when the Bohemian master was here.
+
+Shelley's largest works have been an opera, "Leila," still in
+manuscript, a symphonic poem, "The Crusaders," a dramatic overture,
+"Francesca da Rimini," a sacred oratorio, "The Inheritance Divine," a
+suite for orchestra, a fantasy for piano and orchestra (written for
+Rafael Joseffy), a one-act musical extravaganza, a three-act lyric
+drama, and a virile symphony. The suite is called "Souvenir de
+Baden-Baden." It is a series of highly elaborated trifles of much
+gaiety, and includes a lively "Morning Promenade," a dreamy "Siesta,"
+a "Conversationshaus Ball," and a quaint "Serenade Orientale" that
+shows the influence of Mozart's and Beethoven's marches alla turca.
+The orchestration of this work I have never heard nor seen. Its
+arrangement for four hands, however, is excellently done, with
+commendable attention to the interests of the _secondo_ player.
+
+The cantata is called "The Inheritance Divine," and it is much the
+best thing Shelley has done. It begins with a long, slow crescendo on
+the word "Jerusalem," which is very forceful. Shelley responds to an
+imaginary encore, however, and the word becomes little more than an
+expletive.
+
+Page 7--to refer more conveniently than technically--is marked by
+sonorous harmonies of especial nobility. Now begins a new idea worked
+up with increased richness and growing fervor to a sudden magnificence
+of climax in the second measure on page 11. The final phrase,
+strengthened by an organ-point on two notes, is fairly thrilling. A
+tenor solo follows, its introductory recitative containing many fine
+things, its aria being smoothly melodious. A chorus, of warm harmonies
+and a remarkably beautiful and unexpected ending, is next; after which
+is a sombre, but impressive alto solo. The two successive choruses,
+the quartette, and the soprano solo catch the composer nodding. The
+bass solo is better; the final chorus brings us back to the high
+plane. Page 62 is particularly big of spirit, and from here on the
+chorus climbs fiery heights. In spite of Berlioz' famous parody on the
+"Amen" fugues, in the "Damnation of Faust," Shelley has used the word
+over a score of times in succession to finish his work. But altogether
+the work is one of maturity of feeling and expression, and it is a
+notable contribution to American sacred music.
+
+In 1898 "Death and Life" was published. It opens with a dramatic
+chorus sung by the mob before the cross, and it ends daringly with a
+unisonal descent of the voices that carries even the sopranos down to
+A natural. In the duet between Christ and Mary, seeking where they
+have laid her Son, the librettist has given Christ a versified
+paraphrase which is questionable both as to taste and grammar. The
+final chorus, however, has a stir of spring fire that makes the work
+especially appropriate for Easter services.
+
+The cantata "Vexilla Regis" is notable for its martial opening chorus,
+the bass solo, "Where deep for us the spear was dyed," and its
+scholarly and effective ending.
+
+A lapidary's skill and delight for working in small forms belongs to
+Gerrit Smith. His "Aquarelles" are a good example of his art in
+bijouterie. This collection includes eight songs and eight piano
+sketches. The first, "A Lullaby," begins with the unusual skip of a
+ninth for the voice. A subdued accentuation is got by the syncopation
+of the bass, and the yearning tenderness of the ending finishes an
+exquisite song. "Dream-wings" is a graceful fantasy that fittingly
+presents the delicate sentiment of Coleridge' lyrics. The setting of
+Heine's "Fir-tree" is entirely worthy to stand high among the numerous
+settings of this lyric. Smith gets the air of desolation of the bleak
+home of the fir-tree by a cold scale of harmony, and a bold simplicity
+of accompaniment. The home of the equally lonely palm-tree is strongly
+contrasted by a tropical luxuriance of interlude and accompaniment.
+
+The sixth song is a delightful bit of brilliant music, but it is quite
+out of keeping with the poem. Thus on the words, "Margery's only
+three," there is a fierce climax fitting an Oriental declaration of
+despair. The last of these songs, "Put by the Lute," is possibly
+Smith's best work. It is superb from beginning to end. It opens with a
+most unhackneyed series of preludizing arpeggios, whence it breaks
+into a swinging lyric, strengthened into passion by a vigorous
+contramelody in the bass. Throughout, the harmonies are most
+original, effective, and surprising.
+
+Of the eight instrumental pieces in this book, the exquisite and
+fluent "Impromptu" is the best after the "Cradle Song," which is
+drowsy with luscious harmony and contains a passage come organo of
+such noble sonority as to put it a whit out of keeping with a child's
+lullaby.
+
+Smith was born December 11, 1859, at Hagerstown, Md. His first
+instruction was gained in Geneva, N.Y., from a pupil of Moscheles. He
+began composition early, and works of his written at the age of
+fourteen were performed at his boarding-school. He graduated at Hobart
+College in 1876, whence he went to Stuttgart to study music and
+architecture. A year later he was in New York studying the organ with
+Samuel P. Warren. He was appointed organist at St. Paul's, Buffalo,
+and studied during the summer with Eugene Thayer, and William H.
+Sherwood. In 1880 he went again to Germany, and studied organ under
+Haupt, and theory under Rohde, at Berlin. On his return to America he
+took the organ at St. Peter's, in Albany. Later he came to New York,
+where he has since remained continuously, except for concert tours and
+journeys abroad. He has played the organ in the most important English
+and Continental towns, and must be considered one of our most
+prominent concert organists. He is both a Master of Arts and a Doctor
+of Music. As one of the founders, and for many years the president, of
+the Manuscript Society, he was active in obtaining a hearing for much
+native music otherwise mute.
+
+In addition to a goodly number of Easter carols, Christmas anthems, Te
+Deums, and such smaller forms of religious music, Smith has written a
+sacred cantata, "King David." Aside from this work, which in
+orchestration and in general treatment shows undoubted skill for large
+effort, Doctor Smith's composition has been altogether along the
+smaller lines.
+
+The five-song'd opus 14 shows well matured lyric power, and an
+increase in fervor of emotion. Bourdillon's "The Night Has a Thousand
+Eyes," which can never be too much set to music, receives here a truly
+superb treatment. The interlude, which also serves for finale, is
+especially ravishing. "Heart Longings" is one of Mr. Smith's very best
+successes. It shows a free passion and a dramatic fire unusual for his
+rather quiet muse. The setting of Bourdillon's fine lyric is indeed so
+stirring that it deserves a high place among modern songs. "Melody"
+is a lyric not without feeling, but yet inclusive of most of Smith's
+faults. Thus the prelude, which is a tritely flowing allegro, serves
+also for interlude as well as postlude, and the air and accompaniment
+of both stanzas are unvaried, save at the cadence of the latter
+stanza. The intense poesy of Anna Reeve Aldrich, a poetess cut short
+at the very budding of unlimited promise, deserved better care than
+this from a musician. Two of Smith's works were published in Millet's
+"Half-hours with the Best Composers,"--one of the first substantial
+recognitions of the American music-writer. A "Romance," however, is
+the best and most elaborate of his piano pieces, and is altogether an
+exquisite fancy. His latest work, a cycle of ten pieces for the piano,
+"A Colorado Summer," is most interesting. The pieces are all lyrical
+and simple, but they are full of grace and new colors.
+
+[Music: Spring.
+
+Words by Alfred Tennyson.
+
+GERRIT SMITH, OP. 13, NO. 4.
+
+    Bird's love and bird's song,
+    Flying here and there,
+    Bird's song and bird's love,
+    And you with gold for hair.
+    Bird's song and bird's love,
+    Passing with the weather,
+    Men's song and men's love,
+    To love once and forever.
+
+Copyright, 1894, by Arthur P. Schmidt.
+
+A FRAGMENT.]
+
+But Smith's most individual work is his set of songs for children,
+which are much compared, and favorably, with Reinecke's work along the
+same lines. These are veritable masterpieces of their sort, and they
+are mainly grouped into opus 12, called "Twenty-five Song Vignettes."
+
+So well are they written that they are a safe guide, and worthy that
+supreme trust, the first formation of a child's taste. Even
+dissonances are used, sparingly but bravely enough to give an idea of
+the different elements that make music something more than a sweetish
+impotence. They are vastly different from the horrible trash children
+are usually brought up on, especially in our American schools, to the
+almost incurable perversion of their musical tastes. They are also so
+full of refinement, and of that humor without which children cannot
+long be held, that they are of complete interest also to "grown-ups,"
+to whom alone the real artistic value of these songs can entirely
+transpire. Worthy of especial mention are the delicious "Stars and
+Angels;" the delightful "A Carriage to Ride In;" "Good King Arthur," a
+captivating melody, well built on an accompaniment of "God Save the
+King;" "Birdie's Burial," an elegy of the most sincere pathos, quite
+worthy of a larger cause,--if, indeed, any grief is greater than the
+first sorrows of childhood; the surprisingly droll "Barley Romance;"
+"The Broom and the Rod," with its programmatic _glissandos_ to give
+things a clean sweep; and other delights like the "Rain Song," "The
+Tomtit Gray," "Mamma's Birthday," and "Christmas at the Door." To have
+given these works their present value and perfection, is to have
+accomplished a far greater thing than the writing of a dozen tawdry
+symphonies.
+
+One of the most outrageously popular piano pieces ever published in
+America was Homer N. Bartlett's "Grande Polka de Concert." It was his
+opus 1, written years ago, and he tells me that he recently refused a
+lucrative commission to write fantasies on "Nearer My God to Thee" and
+"The Old Oaken Bucket"! So now that he has reformed, grown wise and
+signed the musical pledge, one must forgive him those wild oats from
+which he reaped royalties, and look to the genuine and sincere work he
+has latterly done. Let us begin, say, with opus 38, a "Polonaise" that
+out-Herods Chopin in bravura, but is full of vigor and well held
+together. A "Dance of the Gnomes," for piano, is also arranged for a
+sextet, the arrangement being a development, not a bare transcription.
+There are two mazurkas (op. 71), the first very original and happy.
+"Æolian Murmurings" is a superb study in high color. A "Caprice
+Español" is a bravura realization of Spanish frenzy. It has also been
+brilliantly orchestrated. Two songs without words make up opus 96:
+while "Meditation" shows too evident meditation on Wagner, "A Love
+Song" gets quite away from musical bourgeoisery. It is free, spirited,
+even daring. It is patently less devoted to theme-development than to
+the expression of an emotion. This "Love Song" is one of the very best
+of American morceaux, and is altogether commendable.
+
+Opus 107 includes three "characteristic pieces." "The Zephyr" is
+dangerously like Chopin's fifteenth Prelude, with a throbbing
+organ-point on the same A flat. On this alien foundation, however,
+Bartlett has built with rich harmony. The "Harlequin" is graceful and
+cheery. It ends with Rubinstein's sign and seal, an arpeggio in
+sixths, which is as trite a musical finis as fiction's "They lived
+happily ever afterward, surrounded by a large circle of admiring
+friends."
+
+Three mazurkas constitute opus 125. They are closely modelled on
+Chopin, and naturally lack the first-handedness of these works, in
+which, almost alone, the Pole was witty. But Bartlett has made as
+original an imitation as possible. The second is particularly
+charming.
+
+In manuscript is a Prélude developed interestingly on well-understood
+lines. There is a superb "Reverie Poétique." It is that climax of
+success, a scholarly inspiration. To the meagre body of American
+scherzos, Bartlett's scherzo will be very welcome. It is very festive
+and very original. Its richly harmonized interlude shows a complete
+emancipation from the overpowering influence of Chopin, and a great
+gain in strength as well as individuality.
+
+In his songs Bartlett attains a quality uniformly higher than that of
+his piano pieces. "Moonbeams" has many delicacies of harmony.
+"Laughing Eyes" is a fitting setting of Mr. "Nym Crinkle" Wheeler's
+exquisite lyric. "Come to Me, Dearest," while cheap in general design,
+has fine details.
+
+It makes me great dole to have to praise a song about a brooklet; but
+the truth is, that Bartlett's "I Hear the Brooklet's Murmur" is
+superbly beautiful, wild with regret,--a noble song. It represents the
+late German type of _Lied_, as the earlier heavy style is exemplified
+in "Good Night, Dear One." Very Teutonic also is the airiness and
+grace of "Rosebud."
+
+To that delightful collection of children's songs, "The St. Nicholas
+Song Book," Bartlett contributed largely. All of his lyrics are
+delicious, and "I Had a Little Pony" should become a nursery classic.
+
+In his "Lord God, Hear My Prayer," Bartlett throws down the gauntlet
+to the Bach-Gounod "Ave Maria," with results rather disastrous. He
+chooses a Cramer étude, and adds to it parts for voice, violin, and
+organ. While Gounod seems passionate and unrestrained, Bartlett shows
+his caution and his cage at every step. A Cramer étude is among the
+most melancholy things of earth anyway. "Jehovah Nissi" is an
+excellent sacred march chorus that won a prize, and there is a
+cantata, "The Last Chieftain." Bartlett's cantata is without efforts
+at Indian color, but is a solid work with much dignity, barbaric
+severity, and fire.
+
+Bartlett was born at Olive, N.Y., December 28, 1846. His ancestry
+runs far back into New England, his mother being a descendant of John
+Rogers, the martyr. Bartlett is said to have "lisped in numbers,"
+singing correctly before he could articulate words. The violin was his
+first love, and at the age of eight he was playing in public. He took
+up the piano and organ also, and in his fourteenth year was a church
+organist. He studied the piano with S.B. Mills, Emil Guyon (a pupil
+of Thalberg), and Alfred Pease. The organ and composition he studied
+with O.F. Jacobsen and Max Braun. With the exception of a musical
+pilgrimage in 1887, Bartlett has not come nearer the advantages of
+Europe than study here under men who studied there. He has resided for
+many years in New York as organist and teacher. As a composer he has
+been one of our most prolific music-makers. His work shows a steady
+development in value, and the best is doubtless yet to come.
+
+He finds a congenial field in the orchestra. Seidl played his
+instrumentation of Chopin's "Military Polonaise" several times. As the
+work seemed to need a finale in its larger form, Bartlett took a
+liberty whose success was its justification, and added a finish made
+up of the three principal themes interwoven. A recent work is his
+"Concertstück," for violin and orchestra. It is not pianistic in
+instrumentation, and will appeal to violinists. While not marked with
+_récherchés_ violin tricks, or violent attempts at bravura, it has
+both brilliance and solidity, and is delightfully colored in
+orchestration. There are no pauses between the movements, but they are
+well varied in their unity.
+
+There is an unfinished oratorio, "Samuel," an incomplete opera,
+"Hinotito," and a cantata of which only the tenor solo, "Khamsin," is
+done. This is by far the best work Bartlett has written, and displays
+unexpected dramatic powers. The variation of the episodes of the
+various phases of the awful drought to the climax in "The Plague,"
+make up a piece of most impressive strength. The orchestration is
+remarkably fine with effect, color, and variety. If the cantata is
+finished on this scale, its production will be a national event.
+
+The New England farmer is usually taken as a type of sturdy
+Philistinism in artistic matters. It was a most exceptional good
+fortune that gave C.B. Hawley a father who added to the dignity of
+being a tiller of the soil the refinements of great musical taste and
+skill. His house at Brookfield, Conn., contained not only a grand
+piano, but a pipe organ as well; and Hawley's mother was blessed with
+a beautiful and cultivated voice.
+
+At the age of thirteen (he was born St. Valentine's Day, 1858) Hawley
+was a church organist and the conductor of musical affairs in the
+Cheshire Military Academy, from which he graduated. He went to New
+York at the age of seventeen, studying the voice with George James
+Webb, Rivarde, Foederlein, and others, and composition with Dudley
+Buck, Joseph Mosenthal, and Rutenber.
+
+His voice brought him the position of soloist at the Calvary Episcopal
+Church, at the age of eighteen. Later he became assistant organist at
+St. Thomas' Episcopal Church, under George William Warren. For the
+last fourteen years he has had charge of the summer music at St. James
+Chapel, in Elberon, the chapel attended by Presidents Grant and
+Garfield. For seventeen years he has been one of the leading spirits
+of the Mendelssohn Glee Club, and for ten years a member of the
+Mendelssohn Quartet Club. Most of his part songs were written for the
+club and first sung at its concerts. He is also a successful teacher
+of the voice, and has been too busy to write a very large volume of
+compositions. But those published show the authentic fire.
+
+Notable features of Hawley's compositions are the taking quality of
+the melody, its warm sincerity, and the unobtrusive opulence in color
+of the accompaniment. This is less like an answering, independent
+voice than like a many-hued, velvety tapestry, backgrounding a
+beautiful statue. It is only on second thought and closer study that
+one sees how well concealed is the careful and laborious polish _ad
+unguem_ of every chord. This is the true art of song, where the lyrics
+should seem to gush spontaneously forth from a full heart and yet
+repay the closer dissection that shows the intellect perfecting the
+voice of emotion.
+
+Take, for example, his "Lady Mine," a brilliant rhapsody, full of the
+spring, and enriched with a wealth of color in the accompaniment till
+the melody is half hidden in a shower of roses. It required courage to
+make a setting of "Ah, 'Tis a Dream!" so famous through Lassen's
+melody; but Hawley has said it in his own way in an air thrilled with
+longing and an accompaniment as full of shifting colors as one of the
+native sunsets. I can't forbear one obiter dictum on this poem. It has
+never been so translated as to reproduce its neatest bit of fancy. In
+the original the poet speaks of meeting in dreams a fair-eyed maiden
+who greeted him "auf Deutsch" and kissed him "auf Deutsch," but the
+translations all evade the kiss in German.
+
+"The Ring," bounding with the glad frenzy of a betrothed lover, has a
+soaring finale, and is better endowed with a well polished
+accompaniment than the song, "Because I Love You, Dear," which is not
+without its good points in spite of its manifest appeal to a more
+popular taste. "My Little Love," "An Echo," "Spring's Awakening," and
+"Where Love Doth Build His Nest," are conceived in Hawley's own vein.
+
+The song, "Oh, Haste Thee, Sweet," has some moments of banality, but
+more of novelty; the harmonic work being unusual at times, especially
+in the rich garb of the words, "It groweth late." In "I Only Can Love
+Thee," Hawley has succeeded in conquering the incommensurateness of
+Mrs. Browning's sonnet by alternating 6-8 and 9-8 rhythms. His "Were I
+a Star," is quite a perfect lyric.
+
+Of his part songs, all are good, some are masterly. Here he colors
+with the same lavish but softly blending touch as in his solos. "My
+Luve's Like a Red, Red Rose" is altogether delightful, containing as
+it does a suggestion of the old formalities and courtly graces of the
+music of Lawes, whose songs Milton sonneted. I had always thought that
+no musician could do other than paint the lily in attempting to add
+music to the music of Tennyson's "Bugle Song," but Hawley has come
+dangerously near satisfaction in the elfland faintness and dying
+clearness of his voices.
+
+He has written two comic glees, one of which, "They Kissed! I Saw Them
+Do It," has put thousands of people into the keenest mirth. It is a
+vocal scherzo for men's voices. It begins with a criminally lugubrious
+and thin colloquy, in which the bass dolefully informs the others:
+"Beneath a shady tree they sat," to which the rest agree; "He held
+her hand, she held his hat," which meets with general consent. Now we
+are told in stealthy gasps, "I held my breath and lay right flat."
+Suddenly out of this thinness bursts a peal of richest harmony: "They
+kissed! I saw them do it." It is repeated more lusciously still, and
+then the basses and barytones mouth the gossip disapprovingly, and the
+poem continues with delicious raillery till it ends abruptly and
+archly: "And they thought no one knew it!"
+
+Besides these scherzos, Hawley has written a few religious part songs
+of a high order, particularly the noble "Trisagion and Sanctus," with
+its "Holy, Holy!" now hushed in reverential awe and now pealing in
+exultant worship. But of all his songs, I like best his "When Love is
+Gone," fraught with calm intensity, and closing in beauty as
+ineffable as a last glimmer of dying day.
+
+To the stencil-plate chivalry of the lyrics of the ubiquitous F.E.
+Weatherby and John Oxenford, the song-status of England can blame a
+deal of its stagnation. It is not often that these word-wringers have
+enticed American composers. One of the few victims is John Hyatt
+Brewer, who was born in Brooklyn, in 1856, and has lived there ever
+since.
+
+[Music: When Love is gone.
+
+(_Soprano, or Tenor._)
+
+C.B. HAWLEY.
+
+    The mind has a thousand eyes,
+    The heart but one;
+    Yet the light of a whole life dies
+    When love is gone, when love is gone.
+
+Copyright, 1894, by G. Schirmer.]
+
+Brewer made his début as a six-year-old singer, and sang till his
+fourteenth year. A year later he was an organist in Brooklyn, where he
+has held various positions in the same capacity ever since,
+additionally busying himself as a teacher of voice, piano, organ, and
+harmony. His studies in piano and harmony were pursued under Rafael
+Navarro. Counterpoint, fugue, and composition he studied under Dudley
+Buck.
+
+In 1878 Brewer became the second tenor and accompanist of the Apollo
+Club, of which Mr. Buck is the director. He has conducted numerous
+vocal societies and an amateur orchestra.
+
+Of his cantatas, "Hesperus" is a work of the greatest promise and
+large performance.
+
+For male voices Brewer has written a cantata called "The Birth of
+Love." Its fiery ending is uncharacteristic, but the beautiful tenor
+solo and an excellent bass song prove his forte to lie in the realm
+of tenderness. Brewer's music has little fondness for climaxes, but in
+a tender pathos that is not tragedy, but a sort of lotos-eater's
+dreaminess and regret, he is congenially placed. Smoothness is one of
+his best qualities.
+
+Out of a number of part songs for men, one should mark a vigorous
+"Fisher's Song," a "May Song," which has an effective "barber's
+chord," and "The Katydid," a witty realization of Oliver Wendell
+Holmes' captivating poem. His "Sensible Serenade" has also an
+excellent flow of wit. Both these songs should please glee clubs and
+their audiences.
+
+For women's voices Brewer has written not a little. The best of these
+are "Sea Shine," which is particularly mellow, and "Treachery," a
+love-scherzo.
+
+For the violin there are two pieces: one, in the key of D, is a duet
+between the violin and the soprano voice of the piano. It is full of
+characteristic tenderness, full even of tears. It should find a good
+place among those violin ballads of which Raff's Cavatina is the
+best-known example. Another violin solo in A is more florid, but is
+well managed. The two show a natural aptitude for composition for this
+favorite of all instruments.
+
+For full orchestra there is a suite, "The Lady of the Lake," also
+arranged, for piano and organ. It is smooth and well-tinted. A sextet
+for strings and flute has been played with favor.
+
+Brewer's chief success lies along lines of least resistance, one might
+say. His Album of Songs (op. 27) is a case in point. Of the subtle and
+inevitable "Du bist wie eine Blume," he makes nothing, and "The
+Violet" forces an unfortunate contrast with Mozart's idyl to the same
+words. But "Meadow Sweet" is simply iridescent with cheer, a most
+unusually sweet song, and "The Heart's Rest" is of equal perfection.
+
+The best-abused composer in America is doubtless Reginald de Koven.
+His great popularity has attracted the search-light of minute
+criticism to him, and his accomplishments are such as do not well
+endure the fierce white light that beats upon the throne. The sin of
+over-vivid reminiscence is the one most persistently imputed to him,
+and not without cause. While I see no reason to accuse him of
+deliberate imitation, I think he is a little too loth to excise from
+his music those things of his that prove on consideration to have been
+said or sung before him. Instead of crying, "_Pereant qui ante nos
+nostra cantaverunt_," he believes in a live-and-let-live policy. But
+ah, if De Koven were the only composer whose eraser does not evict all
+that his memory installs!
+
+De Koven was born at Middletown, Conn., in 1859, and enjoyed unusual
+advantages for musical study abroad. At the age of eleven, he was
+taken to Europe, where he lived for twelve years. At Oxford he earned
+a degree with honors. His musical instructors include Speidel, Lebert,
+and Pruckner, at Stuttgart, Huff the contrapuntist at Frankfort, and
+Vannucini, who taught him singing, at Florence. He made also a
+special study of light opera under Genée and Von Suppé. He made
+Chicago his home in 1882, afterward moving to New York, where he
+served as a musical critic on one of the daily papers for many years.
+
+De Koven has been chief purveyor of comic opera to his generation, and
+for so ideal a work as "Robin Hood," and such pleasing constructions
+as parts of his other operas ("Don Quixote," "The Fencing Master,"
+"The Highwayman," for instance), one ought to be grateful, especially
+as his music has always a certain elegance and freedom from vulgarity.
+
+Of his ballads, "Oh, Promise Me" has a few opening notes that remind
+one of "Musica Proibita," but it was a taking lyric that stuck in the
+public heart. His setting of Eugene Field's "Little Boy Blue" is a
+work of purest pathos and directness. His version of "My Love is Like
+a Red, Red Rose" is among the best of its countless settings, and "The
+Fool of Pamperlune," the "Indian Love Song," "In June," and a few
+others, are excellent ballad-writing.
+
+Victor Harris is one of the few that selected New York for a
+birthplace. He was born here April 27, 1869, and attended the College
+of the City of New York, class of 1888. For several of his early years
+he was well known as a boy-soprano, whence he graduated into what he
+calls the "usual career" of organist, pianist, and teacher of the
+voice. In 1895 and 1896 he acted as the assistant conductor to Anton
+Seidl in the Brighton Beach summer concerts. He learned harmony of
+Frederick Schilling.
+
+Harris is most widely known as an accompanist, and is one of the best
+in the country. But while the accompaniments he writes to his own
+songs are carefully polished and well colored, they lack the show of
+independence that one might expect from so unusual a master of their
+execution.
+
+Except for an unpublished one-act operetta, "Mlle. Maie et M. de
+Sembre," and a few piano pieces, Harris has confined himself to the
+writing of short songs. In his twenty-first year two of unequal merits
+were published, "The Fountains Mingle with the River" being a taking
+melody, but without distinction or originality, while "Sweetheart" has
+much more freedom from conventionality and inevitableness.
+
+[Music: To N.N.H.
+
+Song from Omar Khayyám.
+
+VICTOR HARRIS, Op. 16, No. 3.
+
+    Oh! threats of Hell and hopes of Paradise!
+    One thing at least is certain--
+    _This_ Life flies,
+    One thing is certain, and the rest is Lies!
+    The Flower that once has blown for ever, for ever dies.
+
+Copyright, 1898, by Edward Schuberth & Co.]
+
+A later song, "My Guest," shows an increase in elaboration, but
+follows the florid school of Harrison Millard's once so popular
+rhapsody, "Waiting." Five songs are grouped into opus 12, and they
+reach a much higher finish and a better tendency to make excursions
+into other keys. They also show two of Harris' mannerisms, a constant
+repetition of verbal phrases and a fondness for writing close,
+unbroken chords, in triplets or quartoles. "A Melody" is beautiful;
+"Butterflies and Buttercups" is the perfection of grace; "I Know not
+if Moonlight or Starlight" is a fine rapture, and "A Disappointment"
+is a dire tragedy, all about some young toadstools that thought they
+were going to be mushrooms. For postlude two measures from the
+cantabile of Chopin's "Funeral March" are used with droll effect.
+"Love, Hallo!" is a headlong springtime passion. Two of his latest
+songs are "Forever and a Day," with many original touches, and a
+"Song from Omar Khayyám," which is made of some of the most cynical of
+the tent-maker's quatrains. Harris has given them all their power and
+bitterness till the last line, "The flower that once has blown forever
+dies," which is written with rare beauty. "A Night-song" is possibly
+his best work; it is full of colors, originalities, and lyric
+qualities. Opus 13 contains six songs: "Music when Soft Voices Die"
+has many uncommon and effective intervals; "The Flower of Oblivion" is
+more dramatic than usual, employs discords boldly, and gives the
+accompaniment more individuality than before; "A Song of Four
+Seasons" is a delicious morsel of gaiety, and "Love within the Lover's
+Breast" is a superb song. Harris has written some choric works for men
+and women also. They show commendable attention to all the voice
+parts.
+
+One of the most prominent figures in American musical history has been
+Dr. William Mason. He was born in Boston, January 24, 1829, and was
+the son of Lowell Mason, that pioneer in American composition. Dr.
+William Mason studied in Boston, and in Germany under Moscheles,
+Hauptmann, Richter, and Liszt. His success in concerts abroad and here
+gave prestige to his philosophy of technic, and his books on method
+have taken the very highest rank.
+
+His pedagogical attainments have overshadowed his composition, but he
+has written some excellent music. As he has been an educational force
+in classical music, so his compositions show the severe pursuit of
+classic forms and ideas. His work is, therefore, rather ingenious than
+inspired, and intellectual rather than emotional. Yale made him Doctor
+of Music in 1872.
+
+Another composer whose studies in technic have left him only a little
+inclination for creation is Albert Ross Parsons, who was born at
+Sandusky, O., September 16, 1847. He studied in Buffalo, and in New
+York under Ritter. Then he went to Germany, where he had a remarkably
+thorough schooling under Moscheles, Reinecke, Richter, Paul, Taussig,
+Kullak, and others. Returning to this country, he has busied himself
+as organist, teacher, and an editor of musical works. What little
+music he has composed shows the fruit of his erudition in its
+correctness.
+
+Such men as Doctor Mason and Mr. Parsons, though they add little to
+the volume of composition,--a thing for which any one should be
+thanked on some considerations,--yet add great dignity to their
+profession in this country.
+
+Arthur, a younger brother of Ethelbert Nevin, shows many of the
+Nevinian traits of lyric energy and harmonic color in his songs. He
+was born at Sewickley, Pa., in 1871. Until he was eighteen he had
+neither interest nor knowledge in music. In 1891 he began a four
+years' course in Boston, going thence to Berlin, where his masters
+were Klindworth and Boise. A book of four graceful "May Sketches" has
+been published, "Pierrot's Guitar" being especially ingenious. There
+are two published songs, "Were I a Tone" and "In Dreams," both
+emotionally rich. In manuscript are a fine song, "Free as the Tossing
+Sea," and a well-devised trio.
+
+A successful writer of songs is C. Whitney Coombs. He was born in
+Maine, in 1864, and went abroad at the age of fourteen. He studied the
+piano with Speidel, and composition with Seiffritz, in Stuttgart, for
+five years, and pursued his studies later in Dresden under Draessecke,
+Janssen, and John. In 1887 he became organist at the American Church
+in that city, returning to America in 1891, since which time he has
+been an organist in New York.
+
+In 1891 his publication begins with "My Love," an excellent lilt on
+lines from the Arabian. Among his many songs a few should be noted:
+the "Song of a Summer Night" is brilliant and poetic, and "Alone" is
+marked by some beautiful contramelodic effects; his "Indian Serenade"
+is a gracious work.
+
+J. Remington Fairlamb has been a prolific composer. He was born at
+Philadelphia, and at fourteen was a church organist. He studied at the
+Paris Conservatoire and in Italy; was appointed consul at Zurich by
+President Lincoln, and while in Stuttgart was decorated by the King of
+Wurtemburg with the "Great Gold Medal of Art and Science" for a Te
+Deum for double chorus and orchestra. Of Fairlamb's compositions, some
+two hundred have been published, including much sacred music and parts
+of two operas. A grand opera, "Leonello," in five acts, and a mass are
+in manuscript.
+
+Frank Seymour Hastings has found in music a pleasant avocation from
+finance, and written various graceful songs. He has been active, too,
+in the effort to secure a proper production of grand opera in English.
+
+Dr. John M. Loretz, of Brooklyn, is a veteran composer, and has passed
+his opus 200. He has written much sacred music and several comic
+operas.
+
+A prominent figure in New York music, though only an occasional
+composer, is Louis Raphael Dressler, one of the six charter members of
+the Manuscript Society, and long its treasurer. His father was William
+Dressler, one of the leading musicians of the earlier New York, where
+Mr. Dressler was born, in 1861. Dressier studied with his father, and
+inherited his ability as a professional accompanist and conductor. He
+was the first to produce amateur performances of opera in New York.
+His songs are marked with sincerity and spontaneity.
+
+Richard Henry Warren has been the organist at St. Bartholomew's since
+1886, and the composer of much religious music in which both skill and
+feeling are present. Among his more important works are two complete
+services, a scene for barytone solo, male chorus, and orchestra,
+called "Ticonderoga," and a powerful Christmas anthem. Warren has
+written also various operettas, in which he shows a particular grasp
+of instrumentation, and an ability to give new turns of expression to
+his songs, while keeping them smooth and singable. An unpublished
+short song of his, "When the Birds Go North," is a remarkably
+beautiful work, showing an aptitude that should be more cultivated.
+
+Warren was born at Albany, September 17, 1859. He is a son and pupil
+of George W. Warren, the distinguished organist. He went to Europe in
+1880, and again in 1886, for study and observation. He was the
+organizer and conductor of the Church Choral Society, which gave
+various important religious works their first production in New York,
+and, in some cases, their first hearing in America, notably, Dvôrák's
+Requiem Mass, Gounod's "Mors et Vita," Liszt's Thirteenth Psalm,
+Saint-Saëns' "The Heavens Declare," Villiers Stanford's "God is Our
+Hope and Strength," and Mackenzie's "Veni, Creator Spiritus." Horatio
+Parker's "Hora Novissima" was composed for this society, and
+Chadwick's "Phoenix Expirans" given its first New York performance.
+
+A prominent organist and teacher is Smith N. Penfield, who has also
+found time for the composition of numerous scholarly works, notably,
+an overture for full orchestra, an orchestral setting of the
+eighteenth psalm, a string quartette, and many pieces for the organ,
+voice, and piano. His tuition has been remarkably thorough. Born in
+Oberlin, Ohio, April 4, 1837, he studied the piano in Germany with
+Moscheles, Papperitz, and Reinecke, the organ with Richter,
+composition, counterpoint, and fugue with Reinecke and Hauptmann. He
+had also a period of study in Paris.
+
+Another organist of distinction is Frank Taft, who is also a conductor
+and a composer. His most important work is a "Marche Symphonique,"
+which was performed by the Boston Symphony Orchestra. He was born in
+East Bloomfield, New York, and had his education entirely in this
+country, studying the organ with Clarence Eddy, and theory with
+Frederic Grant Gleason.
+
+A young composer of many graceful songs is Charles Fonteyn Manney, who
+was born in Brooklyn in 1872, and studied theory with William Arms
+Fisher in New York, and later with J. Wallace Goodrich at Boston. His
+most original song is "Orpheus with His Lute," which reproduces the
+quaint and fascinating gaucheries of the text with singular charm. He
+has also set various songs of Heine's to music, and a short cantata
+for Easter, "The Resurrection."
+
+An ability that is strongly individual is that of Arthur Farwell,
+whose first teacher in theory was Homer A. Norris, and who later
+studied under Humperdinck in Germany. Among his works are an elaborate
+ballade for piano and violin, a setting of Shelley's "Indian
+Serenade," and four folk-songs to words by Johanna Ambrosius, the
+peasant genius of Germany. Among others of his published songs is
+"Strow Poppy Buds," a strikingly original composition.
+
+A writer of numerous elegant trifles and of a serious symphony is
+Harry Patterson Hopkins, who was born in Baltimore, and graduated at
+the Peabody Institute in 1896, receiving the diploma for distinguished
+musicianship. The same year he went to Bohemia, and studied with
+Dvôrák. He returned to America to assist in the production of one of
+his compositions by Anton Seidl.
+
+Very thorough was the foreign training of Carl V. Lachmund, whose
+"Japanese Overture" has been produced under the direction of Thomas
+and Seidl, in the former case at a concert of that society at which
+many important native works have had their only hearing, the Music
+Teachers' National Association. Lachmund was born at Booneville, Mo.,
+in 1854. At the age of thirteen he began his tuition at Cologne, under
+Heller, Jensen, and Seiss; later he went to Berlin to study with the
+Scharwenkas, Kiel, and Moskowski. He had also four years of Liszt's
+training at Weimar. A trio for harp, violin, and 'cello was played by
+the Berlin Philharmonic Orchestra, and a concert prelude for the piano
+was much played in concerts in Germany. Before returning to America,
+Lachmund was for a time connected with the opera at Cologne.
+
+
+_The Boston Colony._
+
+To the composer potentially a writer of grand operas, but barred out
+by the absolute lack of opening here, the dramatic ballad should offer
+an attractive form. Such works as Schubert's "Erl-King" show what can
+be done. Henry Holden Huss has made some interesting experiments, and
+Fred. Field Bullard has tried the field.
+
+[Illustration: FREDERICK FIELD BULLARD.]
+
+Bullard's setting of Tennyson's almost lurid melodrama in six stanzas,
+"The Sisters," has caught the bitter mixture of love and hate, and
+avoided claptrap climaxes most impressively.
+
+[Music: HYMN OF PAN.
+
+Words by
+PERCY BYSSHE SHELLEY.
+
+Music by
+FRED. FIELD BULLARD,
+Op. 17, No. 4.
+
+    From the forests and highlands I come, I come;
+    From the river-girt islands,
+    Where waves are dumb;
+    From the forests and highlands,
+    From the river-girt islands,
+    I come, I come, I come.
+    The wind in the reeds and the rushes,
+    The bees in the bells of thyme,
+    The birds in the myrtle bushes,
+    The....
+
+Copyright, 1894, by Miles & Thompson.
+
+A FRAGMENT.]
+
+"In the Greenwood" (op. 14) is graceful, and "A June Lullaby" has a
+charming accompaniment of humming rain. Bullard has set some of
+Shelley's lyrics for voice and harp or piano, in opus 17. "From Dreams
+of Thee" gets a delicious quaintness of accompaniment, while the "Hymn
+of Pan" shows a tremendous savagery and uncouthness, with strange and
+stubborn harmonies. Full of the same roborific virility are his
+settings to the songs of Richard Hovey's writing, "Here's a Health to
+Thee, Roberts," "Barney McGee," and the "Stein Song." These songs have
+an exuberance of the roistering spirit, along with a competence of
+musicianship that lifts them above any comparison with the average
+balladry. Similarly "The Sword of Ferrara," with its hidalgic pride,
+and "The Indifferent Mariner," and the drinking-song, "The Best of All
+Good Company," are all what Horace Greeley would have called "mighty
+interesting." Not long ago I would have wagered my head against a
+hand-saw, that no writer of this time could write a canon with
+spontaneity. But then I had not seen Bullard's three duets in canon
+form. He has chosen his words so happily and expressed them so easily,
+and with such arch raillery, that the duets are delicious. Of equal
+gaiety is "The Lass of Norwich Town," which, with its violin
+obbligato, won a prize in the _Musical Record_ competition of 1899.
+
+Bullard was born at Boston, in 1864. He studied chemistry at first,
+but the claims of music on his interest were too great, and in 1888 he
+went to Munich, where he studied with Josef Rheinberger. After four
+years of European life he returned to Boston, where he has taught
+harmony and counterpoint along rather original lines. He is a writer
+with ideas and resources that give promise of a large future. His
+scholarship has not led him away from individuality. He is especially
+likely to give unexpected turns of expression, little bits of
+programmism rather incompatible with the ballad form most of his songs
+take. The chief fault with his work is the prevailing dun-ness of his
+harmonies. They have not felt the impressionistic revolt from the old
+bituminous school. But in partial compensation for this bleakness is a
+fine ruggedness.
+
+Of his other published songs, "At Daybreak" shows a beautiful fervor
+of repression. "On the Way" is redeemed by a particularly stirring
+finish. In opus 8, "A Prayer" is begun in D minor and ended in D
+major, with a strong effect of sudden exaltation from gloom. "The
+Singer" begins also in sombre style with unusual and abrupt
+modulations, and ends in a bright major. "The Hermit" is likewise
+grim, but is broad and deep. It uses a hint of "Old Hundred" in the
+accompaniment.
+
+Opus 11 couples two dramatic ballads. In this form of condensed drama
+is a too-little occupied field of composition, and Bullard has written
+some part songs, of which "In the Merry Month of May," "Her Scuttle
+Hat," and "The Water Song" are worth mentioning. "O Stern Old Land" is
+a rather bathetic candidate for the national hymnship. But his "War
+Song of Gamelbar," for male voices, is really a masterwork.
+Harmonists insist on so much closer compliance with rules for
+smoothness in vocal compositions than in instrumental work, that the
+usual composer gives himself very little liberty here. Bullard,
+however, has found the right occasion for wild dissonances, and has
+dared to use them. The effect is one of terrific power. This, his
+"Song of Pan" and "The Sisters" give him a place apart from the rest
+of native song-writers.
+
+[Illustration: HOMER A. NORRIS.]
+
+With all reverence for German music, it has been too much inclined of
+late to domineer the rest of the world, especially America. A useful
+counter-influence is that of Homer A. Norris, who has stepped out of
+the crowd flying to Munich and neighboring places, and profited by
+Parisian harmonic methods.
+
+His book, "Practical Harmony," imparts a, to us, novel method of
+disarming the bugaboo of altered chords of many of its notorious
+terrors. He also attacks the pedantry of music "so constructed that it
+appeals to the eye rather than the ear,--paper-work," a most
+praiseworthy assault on what is possibly the heaviest incubus on
+inspiration. In a later work on "Counterpoint" he used for chapter
+headings Greek vases and other decorative designs, to stimulate the
+ideal of counterpoint as a unified complexity of graceful contours.
+
+Norris was born in Wayne, Me., and became an organist at an early
+age. His chief interest has been, however, in the theory of music, and
+he studied with G.W. Marston, F.W. Hale, and G.W. Chadwick, as well
+as Emery. In deciding upon foreign study he was inspired to choose
+France instead of Germany. This has given him a distinct place.
+
+After studying in Paris for four years under Dubois, Godard, Guilmant,
+and Gigout, he made his home in Boston, where he has since confined
+himself to the teaching of composition.
+
+As yet Mr. Norris has composed little, and that little is done on
+simple lines, but the simplicity is deep, and the harmonies, without
+being bizarre, are wonderfully mellow.
+
+His first song, "Rock-a-bye, Baby," he sold for twelve printed copies,
+and it is said to have had a larger sale than any cradle-song ever
+published in this country. His song, "Protestations," is tender, and
+has a violin obbligato that is really more important than the voice
+part. The song, "Parting," is wild with passion, and bases a superb
+melody on a fitting harmonic structure. I consider "Twilight" one of
+the best American songs. It gets some unusual effects with intervals
+of tenths and ninths, and shows a remarkable depth of emotion.
+
+In the larger forms he has done a concert overture, "Zoroaster"
+(which, judging from an outline, promises many striking effects), and
+a cantata, "Nain," which has the sin of over-repetition of words, but
+is otherwise marked with telling pathos and occasional outbursts of
+intensely dramatic feeling.
+
+Perhaps his most original work is seen in his book of "Four Songs for
+Mezzo-Voice." The first is Kipling's "O Mother Mine," with harshnesses
+followed by tenderest musings; the second is a noble song, "Peace,"
+with an accompaniment consisting entirely of the slowly descending
+scale of C major; a high-colored lilt, "The World and a Day," is
+followed by a Maeterlinckian recitative of the most melting pathos.
+This book is another substantiation of my belief that America is
+writing the best of the songs of to-day.
+
+One of the best-esteemed musicians in Boston, G.E. Whiting has
+devoted more of his interest to his career as virtuoso on the organ
+than to composition. Not many of such works as he has found time to
+write have been printed. These include an organ sonata, a number of
+organ pieces, a book of studies for the organ, six songs, and three
+cantatas for solos, chorus, and orchestra, "A Tale of the Viking,"
+"Dream Pictures," and "A Midnight Cantata."
+
+Whiting was born at Holliston, Mass., September 14, 1842. At the age
+of five, he began the study of music with his brother. At the age of
+fifteen, he moved to Hartford, Conn., where he succeeded Dudley Buck
+as organist of one of the churches. Here he founded the Beethoven
+Society. At the age of twenty he went to Boston, and after studying
+with Morgan, went to Liverpool, and studied the organ under William
+Thomas Best. Later he made a second pilgrimage to Europe, and studied
+under Radeck.
+
+For many years he has lived in Boston as a teacher of music and
+performer upon the organ. In manuscript are a number of works which I
+have not had the privilege of seeing: two masses for chorus,
+orchestra, and organ, a concert overture, a concerto, a sonata, a
+fantasy and fugue, a fantasy and three études, a suite for 'cello and
+piano, and a setting of Longfellow's "Golden Legend," which won two
+votes out of five in the thousand dollar musical festival of 1897, the
+prize being awarded to Dudley Buck.
+
+[Music: Peace.
+
+EDWARD ROWLAND SILL.
+
+HOMER A. NORRIS.
+
+    'Tis not in seeking,
+    'Tis not in endless striving,
+    Thy quest is found:
+    Thy quest is found.
+    Be still and listen;
+    Be still and drink the quiet of all around
+    Not for thy crying,
+    Not for thy loud beseeching,
+    Will peace draw near:
+    Will peace draw near:
+    Rest with palms folded,
+    Rest with thine eyelids fallen
+    Lo! peace is here.
+
+Copyright, 1900, by H.B. Stevens Co. International copyright secured.
+
+Used by permission of H.B. Stevens Co., Boston, owners of the
+copyright.]
+
+Of his compositions H.E. Krehbiel in 1892 recorded the opinion that
+they "entitled him to a position among the foremost musicians in this
+country." He is an uncle of Arthur Whiting.
+
+G.W. Marston's setting of the omnipresent "Du bist wie eine Blume" is
+really one of the very best Heine's poem has ever had. Possibly it is
+the best of all the American settings. His "There Was an Aged Monarch"
+is seriously deserving of the frankest comparison with Grieg's
+treatment of the same _Lied_. It is interesting to note the radical
+difference of their attitudes toward it. Grieg writes in a folk-tone
+that is severe to the point of grimness. He is right because it is
+_ein altes Liedchen_, and Heine's handling of it is also kept
+outwardly cold. But Marston has rendered the song into music of the
+richest harmony and fullest pathos. He is right, also, because he has
+interpreted the undercurrent of the story.
+
+Bodenstedt's ubiquitous lyric, "Wenn der Frühling auf die Berge
+steigt," which rivals "Du bist wie eine Blume" in the favor of
+composers, has gathered Marston also into its net. He gives it a
+climax that fairly sweeps one off his feet, though one might wish that
+the following and final phrase had not forsaken the rich harmonies of
+the climax so completely.
+
+This song is the first of a "Song Album" for sopranos, published in
+1890. In this group the accompaniments all receive an attention that
+gives them meaning without obtrusiveness. "The Duet" is a delicious
+marriage of the song of a girl and the accompanying rapture of a bird.
+
+A captivating little florid figure in the accompaniment of a setting
+of "Im wunderschönen Monat Mai" gives the song worth. "On the Water"
+is profound with sombreness and big simplicity. "The Boat of My Lover"
+is quaintly delightful.
+
+Marston was born in Massachusetts, at the little town of Sandwich, in
+1840. He studied there, and later at Portland, Me., with John W.
+Tufts, and has made two pilgrimages to Europe for instruction. He
+played the organ in his native town at the age of fifteen, and since
+finishing his studies has lived at Portland, teaching the piano,
+organ, and harmony. From the start his songs caught popularity, and
+were much sung in concert.
+
+Marston has written a sacred dramatic cantata, "David," and a large
+amount of church music that is very widely used. He has written also a
+set of quartettes and trios for women's voices, and quartettes for
+men's voices.
+
+Possibly his best-known song has been his "Could Ye Come Back to Me,
+Douglas," which Mrs. Craik called the best of all her poem's many
+settings.
+
+Only Marston's later piano pieces are really _klaviermässig_. So fine
+a work as his "Gavotte in B Minor" has no need to consider the
+resources of the modern instrument. It has a color scheme of much
+originality, though it is marred by over-repetition. "A Night in
+Spain" is a dashing reminiscence, not without Spanish spirit, and an
+"Album Leaf" is a divertissement of contagious enthusiasm.
+
+[Illustration: Autograph of G.W. Marston]
+
+Ariel's songs, from "The Tempest," are given a piano interpretation
+that reaches a high plane. There is a storm prologue which suggests,
+in excellent harmonies, the distant mutter of the storm rather than a
+piano-gutting tornado. "Full Fathoms Five Thy Father Lies" is a
+reverie of wonderful depth and originality, with a delicious variation
+on the good old-fashioned cadence. Thence it works up into an
+immensely powerful close. A dance, "Foot it Featly," follows. It is
+sprightly, and contains a fetching cadenza.
+
+One of the most prolific writers of American song is Clayton Johns. He
+is almost always pleasing and polished. While he is not at all
+revolutionary, he has a certain individuality of ease, and lyric
+quality without storm or stress of passion. Thus his settings of seven
+"Wanderlieder" by Uhland have all the spirit of the road except
+ruggedness.
+
+His setting of "Du bist wie eine Blume" is extremely tender and sweet.
+
+Two of Johns' best successes have been settings of Egyptian subjects:
+"Were I a Prince Egyptian" and Arlo Bates' fine lyric, "No Lotus
+Flower on Ganges Borne." The latter is a superb song of unusual fire,
+with a strong effect at the end, the voice ceasing at a deceptive
+cadence, while the accompaniment sweeps on to its destiny in the
+original key. He has also found a congenial subject in Austin Dobson's
+"The Rose and the Gardener." He gets for a moment far from its florid
+grace in "I Looked within My Soul," which has an unwonted bigness, and
+is a genuine _Lied_.
+
+In later years Johns' songs have been brought out in little albums,
+very artistically got up, especially for music (which has been
+heinously printed, as a rule, in this country). These albums include
+three skilfully written "English Songs," and three "French Songs,"
+"Soupir" taking the form of melodic recitative. Opus 19 is a group of
+"Wonder Songs," which interpret Oliver Herford's quaint conceits
+capitally.
+
+Opus 26 collects nine songs, of which "Princess Pretty Eyes" is
+fascinatingly archaic. It is good to see him setting two such remotely
+kindred spirits as Herrick and Emily Dickinson. The latter has hardly
+been discovered by composers, and the former is too much neglected.
+
+Johns has also written a few part songs and some instrumental works,
+which maintain his characteristics. A delightful "Canzone," a happy
+"Promenade," and "Mazurka" are to be mentioned, and a number of pieces
+for violin and piano, among them a finely built intermezzo, a
+berceuse, a romanza that should be highly effective, and a witty
+scherzino. He has written for strings a berceuse and a scherzino,
+which have been played by the Boston Symphony Orchestra, and certain
+part songs, as well as a chorus for female voices and string
+orchestra, have been sung in London.
+
+Johns was born at New Castle, Del., November 24, 1857, of American
+parents. Though at first a student of architecture, he gave this up
+for music, and studied at Boston under Wm. F. Apthorp, J.K. Paine,
+and W.H. Sherwood, after which he went to Berlin, where he studied
+under Kiel, Grabau, Raif, and Franz Rummel. In 1884 he made Boston his
+home.
+
+If San Francisco had found some way of retaining the composers she has
+produced, she would have a very respectable colony. Among the others
+who have come east to grow up with music is William Arms Fisher, who
+was born in San Francisco, April 27, 1861. The two composers from whom
+he derives his name, Joshua Fisher and William Arms, settled in
+Massachusetts colony in the seventeenth century. He studied harmony,
+organ, and piano with John P. Morgan. After devoting some years to
+business, he committed his life to music, and in 1890 came to New
+York, where he studied singing. Later he went to London to continue
+his vocal studies. Returning to New York, he took up counterpoint and
+fugue with Horatio W. Parker, and composition and instrumentation with
+Dvôrák. After teaching harmony for several years, he went to Boston,
+where he now lives. His work has been almost altogether the
+composition of songs. A notable feature of his numerous publications
+is their agreeable diversion from the usual practice of composers,
+which is to write lyrics of wide range and high pitch. Nearly all his
+songs are written for the average voice.
+
+His first opus contains a setting of "Nur wer die Sehnsucht kennt,"
+which I like better than the banal version Tschaïkowski made of the
+same words. The third opus contains three songs to Shelley's words.
+They show something of the intellectual emotion of the poet. The first
+work, "A Widow Bird Sate Mourning," is hardly lyrical; "My Coursers
+Are Fed with the Lightning" is a stout piece of writing, but the
+inspired highfalutin of the words would be trying upon one who arose
+to sing the song before an audience. This, by the way, is a point
+rarely considered by the unsuccessful composers, and the words which
+the singer is expected to declare to an ordinary audience are
+sometimes astounding. The third Shelley setting, "The World's
+Wanderer," is more congenial to song.
+
+Opus 5 is entitled "Songs without Tears." These are for a bass voice,
+and by all odds the best of his songs. An appropriate setting is
+Edmund Clarence Stedman's "Falstaff's Song," a noteworthy lyric of
+toss-pot moralization on death. His song of "Joy" is exuberant with
+spring gaiety, and some of his best manner is seen in his "Elégie,"
+for violin and piano. He has also written a deal of church song.
+
+A venerable and distinguished teacher and composer is James C.D.
+Parker, who was born at Boston, in 1828, and graduated from Harvard in
+1848. He at first studied law, but was soon turned to music, and
+studied for three years in Europe under Richter, Plaidy, Hauptmann,
+Moscheles, Rietz, and Becker. He graduated from the conservatory at
+Leipzig, and returned to Boston in 1845.
+
+His "Redemption Hymn" is one of his most important works, and was
+produced in Boston by the Händel and Haydn Society in 1877. He also
+composed other works for orchestra and chorus, and many brilliant
+piano compositions.
+
+An interesting method of writing duets is that employed in the
+"Children's Festival," by Charles Dennée. The pupil plays in some
+places the primo, and in others the secondo, his part being written
+very simply, while the part to be played by the teacher is written
+with considerable elaboration, so that the general effect is not so
+narcotic as usual with duets for children. Dennée has written, among
+many works of little specific gravity, a "Suite Moderne" of much
+skill, a suite for string orchestra, an overture and sonatas for the
+piano and for the violin and piano, as well as various comic operas.
+He was born in Oswego, N.Y., September 1, 1863, and studied
+composition with Stephen A. Emery.
+
+A composer of a genial gaiety, one who has written a good minuet and
+an "Evening Song" that is not morose, is Benjamin Lincoln Whelpley,
+who was born at Eastport, Me., October 23, 1863, and studied the piano
+at Boston with B.J. Lang, and composition with Sidney Homer and
+others. He also studied in Paris for a time in 1890. He has written a
+"Dance of the Gnomes," that is characteristic and brilliantly droll,
+and a piano piece, called "Under Bright Skies," which has the panoply
+and progress of a sunlit cavalcade.
+
+Ernest Osgood Hiler has written some good music for the violin, a
+book of songs for children, "Cloud, Field, and Flower," and some
+sacred music. He studied in Germany for two years.
+
+
+_The Chicago Colony._
+
+Most prominent among Chicago's composers is doubtless Frederic Grant
+Gleason, who has written in the large forms with distinguished
+success. The Thomas Orchestra has performed a number of his works,
+which is an excellent praise, because Thomas, who has done so much for
+American audiences, has worried himself little about the American
+composer. At the World's Fair, which was, in some ways, the artistic
+birthday of Chicago, and possibly the most important artistic event in
+our national history, some of Gleason's works were performed by
+Thomas' organization, among them the _Vorspiel_ to an opera, "Otho
+Visconti" (op. 7), for which Gleason wrote both words and music.
+
+[Illustration: FREDERIC GRANT GLEASON.]
+
+This _Vorspiel_, like that to "Lohengrin," is short and delicate. It
+begins ravishingly with flutes and clarinets and four violins,
+pianissimo, followed by a blare of brass. After this introductory
+period the work runs through tenderly contemplative musing to the end,
+in which, again, the only strings are the four violins, though here
+they are accompanied by the brass and wood-winds and tympani, the
+cymbals being gently tapped with drumsticks. The introduction to the
+third act of the opera is more lyrical, but not so fine. Another opera
+is "Montezuma" (op. 16). Gleason is again his own librettist. Of this
+opera I have been privileged to see the complete piano score, and
+much of the orchestral.
+
+[Music: Montezuma, Act III, Introduction
+
+Frederic Grant Gleason
+
+EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.]
+
+In the first act Guatemozin, who has been exiled by Montezuma, appears
+disguised as an ancient minstrel and sings prophetically of the coming
+of a god of peace and love to supplant the terrible idol that demands
+human sacrifice. This superbly written aria provokes from the
+terrified idolaters a chorus of fear and reproach that is strongly
+effective. The next act begins with an elaborate aria followed by a
+love duet of much beauty. A heavily scored priests' march is one of
+the chief numbers, and like most marches written by the unco'
+learned, it is a grain of martial melody in a bushel of trumpet
+figures and preparation. The Wagnerian _leit-motif_ idea is adopted in
+this and other works of his, and the chief objection to his writing is
+its too great fidelity to the Wagnerian manner,--notably in the use of
+suspensions and passing-notes,--otherwise he is a very powerful
+harmonist and an instrumenter of rare sophistication. A soprano aria
+with orchestral accompaniment has been taken from the opera and sung
+in concert with strong effect.
+
+Another work played at the World's Fair by Thomas, is a "Processional
+of the Holy Grail." It is scored elaborately, but is rather brilliant
+than large. It complimentarily introduces a hint or two of Wagner's
+Grail motif.
+
+The symphonic poem, "Edris," was also performed by the Thomas
+Orchestra. It is based upon Marie Corelli's novel, "Ardath," which
+gives opportunity for much programmism, but of a mystical highly
+colored sort for which music is especially competent. It makes use of
+a number of remarkably beautiful motives. One effect much commented
+upon was a succession of fifths in the bass, used legitimately enough
+to express a dreariness of earth.
+
+This provoked from that conservative of conservatives, the music
+copyist, a patronizing annotation, "Quinten!" to which Gleason added
+"Gewiss!" A series of augmented triads, smoothly manipulated, was
+another curiosity of the score.
+
+Possibly Gleason's happiest work is his exquisite music for that most
+exquisite of American poems, "The Culprit Fay." It is described in
+detail in Upton's "Standard Cantatas," and liberally quoted from in
+Goodrich' "Musical Analysis." While I have seen both the piano and
+orchestral scores of this work (op. 15), and have seen much beauty in
+them, my space compels me to refer the curious reader to either of
+these most recommendable books.
+
+Gleason has had an unusual schooling. He was born in Middletown,
+Conn., in 1848. His parents were musical, and when at sixteen he wrote
+a small matter of two oratorios without previous instruction, they put
+him to study under Dudley Buck. From his tuition he graduated to
+Germany, and to such teachers as Moscheles, Richter, Plaidy, Lobe,
+Raif, Taussig, and Weitzmann. He studied in England after that, and
+returned again to Germany. When he re-appeared in America he remained
+a while at Hartford, Conn., whence he went to Chicago in 1876. He has
+lived there since, working at teaching and composition, and acting as
+musical critic of the Chicago _Tribune_. An unusually gifted body of
+critics, dramatic, musical, and literary, has worked upon the Chicago
+newspapers, and Gleason has been prominent among them.
+
+Among other important compositions of his are a symphonic cantata,
+"The Auditorium Festival Ode," sung at the dedication of the Chicago
+Auditorium by a chorus of five hundred; sketches for orchestra, a
+piano concerto, organ music, and songs.
+
+As is shown by the two or three vocal works of his that I have seen,
+Gleason is less successful as a melodist than as a harmonist. But in
+this latter capacity he is gifted indeed, and is peculiarly fitted to
+furnish forth with music Ebling's "Lobgesang auf die Harmonie." In his
+setting of this poem he has used a soprano and a barytone solo with male
+chorus and orchestra. The harmonic structure throughout is superb in all
+the various virtues ascribed to harmony. The ending is magnificent.
+
+[Illustration: WILLIAM H. SHERWOOD.]
+
+A work completed December, 1899, for production by the Thomas
+Orchestra, is a symphonic poem called "The Song of Life," with this
+motto from Swinburne:
+
+    "They have the night, who had, like us, the day;
+    We whom the day binds shall have night as they;
+    We, from the fetters of the light unbound,
+    Healed of our wound of living, shall sleep sound."
+
+The first prominent musician to give a certain portion of his program
+regularly to the American composer, was William H. Sherwood. This
+recognition from so distinguished a performer could not but interest
+many who had previously turned a deaf ear to all the musical efforts
+of the Eagle. In addition to playing their piano works, he has
+transcribed numerous of their orchestral works to the piano, and
+played them. In short, he has been so indefatigable a laborer for the
+cause of other American composers, that he has found little time to
+write his own ideas.
+
+Sherwood will be chiefly remembered as a pianist, but he has written a
+certain amount of music of an excellent quality. Opera 1-4 were
+published abroad. Opus 5 is a suite, the second number of which is an
+"Idylle" that deserves its name. It is as blissfully clear and ringing
+as anything could well be, and drips with a Theokritan honey. The
+third number of the suite is called "Greetings." It has only one or
+two unusual touches. Number 4 bears the suggestive title, "Regrets for
+the Pianoforte." It was possibly written after some of his less
+promising pupils had finished a lesson. The last number of the suite
+is a quaint Novelette.
+
+[Music: IDYLLE.
+
+WM. H. SHERWOOD, OP. 5, NO. 2.
+
+Copyright, 1883, by G. Schirmer.
+
+A FRAGMENT.]
+
+Sherwood's sixth opus is made up of a brace of mazurkas. The former,
+in C minor, contains some of his best work. It is original and moody,
+and ends strongly. The second, in A major, is still better. It not
+only keeps up a high standard throughout, but shows occasional touches
+of the most fascinating art.
+
+A scherzo (op. 7) cracks a few good jokes, but is mostly elaboration.
+Opus 8 is a fiery romanza appassionata. Opus 9 is a Scherzo-Caprice.
+This is probably his best work. It is dedicated to Liszt, and though
+extremely brilliant, is full of meaning. It has an interlude of tender
+romance. "Coy Maiden" is a graceful thing, but hardly deserves the
+punishment of so horrible a name. "A Gypsy Dance" is too long, but it
+is of good material. It has an interesting metre, three-quarter time
+with the first note dotted. There is a good effect gained by
+sustaining certain notes over several measures, though few pianists
+get a real sostenuto. An "Allegro Patetico" (op. 12), "Medea" (op.
+13), and a set of small pieces (one of them a burlesque called "A
+Caudle Lecture," with a garrulous "said she" and a somnolent "said
+he") make up his rather short list of compositions.
+
+Sherwood was born at Lyons, New York, of good American stock. His
+father was his teacher until the age of seventeen, when he studied
+with Heimberger, Pychowski, and Dr. William Mason. He studied in
+Europe with Kullak and Deppe, Scotson Clark, Weitzmann, Doppler,
+Wuerst, and Richter. He was for a time organist in Stuttgart and later
+in Berlin. He was one of those favorite pupils of Liszt, and played in
+concerts abroad with remarkable success, winning at the age of
+eighteen high critical enthusiasm. He has been more cordially
+recognized abroad than here, but is assuredly one of the greatest
+living pianists. It is fortunate that his patriotism keeps him at
+home, where he is needed in the constant battle against the
+indecencies of apathy and Philistinism.
+
+The Yankee spirit of constructive irreverence extends to music, and in
+recent years a number of unusually modern-minded theorists have worked
+at the very foundations: Dr. Percy Goetschius (born here, and for long
+a teacher at Stuttgart); O.B. Boise (born here, and teaching now in
+Berlin); Edwin Bruce, the author of a very radical work; Homer A.
+Norris; and last, and first, A.J. Goodrich, who has made himself one
+of the most advanced of living writers on the theory of music, and has
+made so large a contribution to the solidity of our attainments, that
+he is recognized among scholars abroad as one of the leading spirits
+of his time. His success is the more pleasing since he was not only
+born but educated in this country.
+
+[Illustration: A.J. GOODRICH.]
+
+The town of Chilo, Ohio, was Goodrich' birthplace. He was born there
+in 1847, of American parentage. His father taught him the rudiments of
+music and the piano for one year, after which he became his own
+teacher. He has had both a thorough and an independent instructor. The
+fact that he has been enabled to follow his own conscience without
+danger of being convinced into error by the prestige of some
+influential master, is doubtless to be credited with much of the
+novelty and courage of his work.
+
+His most important book is undoubtedly his "Analytical Harmony,"
+though his "Musical Analysis" and other works are serious and
+important. This is not the place to discuss his technicalities, but
+one must mention the real bravery it took to discard the old practice
+of a figured bass, and to attack many of the theoretical fetiches
+without hesitation. Almost all of the old theorists have confessed,
+usually in a foot-note to the preface or in modest disclaimer lost
+somewhere in the book, that the great masters would occasionally be
+found violating certain of their rules. But this did not lead them to
+deducing their rules from the great masters. Goodrich, however, has,
+in this matter, begun where Marx ended, and has gone further even than
+Prout. He has gone to melody as the groundwork of his harmonic system,
+and to the practice of great masters, old and new, for the tests of
+all his theories. The result is a book which can be unreservedly
+commended for self-instruction to the ignorant and to the too learned.
+It is to be followed by a book on "Synthetic Counterpoint," of which
+Goodrich says, "It is almost totally at variance with the standard
+books in counterpoint."
+
+In his "Musical Analysis" he quoted freely from American composers,
+and analyzed many important native works. He has carried out this plan
+also in his book on "Interpretation," a work aiming to bring more
+definiteness into the fields of performance and terminology.
+
+Goodrich' composition is "a thing of the past," he says. In his youth
+he wrote a score or more of fugues, two string quartettes, a trio that
+was played in New York and Chicago, a sonata, two concert overtures, a
+hymn for soprano (in English), invisible chorus (in Latin), and
+orchestra, a volume of songs, and numerous piano pieces. He writes:
+"In truth, I believed at one time that I was a real composer, but
+after listening to Tschaïkowski's Fifth Symphony that illusion was
+dispelled. Had not Mrs. Goodrich rescued from the flames a few MSS. I
+would have destroyed every note."
+
+Only a piano suite is left, and this leads one to regret that
+Tschaïkowski should have served as a deterrent instead of an
+inspiration. The suite has an inelaborate prelude, which begins
+strongly and ends gracefully, showing unusual handling throughout. A
+minuet, taken scherzando, is also most original and happy. There is a
+quaint sarabande, and a gavotte written on simple lines, but superbly.
+Its musette is simply captivating. All these little pieces indeed show
+sterling originality and unusual resources in a small compass.
+
+W.H. Neidlinger's first three songs were kept in his desk for a year
+and then kept by a publisher for a year longer, and finally brought
+out in 1889. To his great surprise, the "Serenade," which he calls
+"just a little bit of commonplace melody," had an immense sale and
+created a demand for more of his work. The absolute simplicity of this
+exquisite gem is misleading. It is not cheap in its lack of ornament,
+but it eminently deserves that high-praising epithet (so pitilessly
+abused), "chaste." It has the daintiness and minute completeness of a
+Tanagra figurine.
+
+Mr. Neidlinger was born in Brooklyn, N.Y., in 1863, and was compelled
+to earn the money for his own education and for his musical studies.
+From Dudley Buck and, later, C.C. Muller, of New York, he has had his
+only musical instruction. He lived abroad for some time, teaching the
+voice in Paris, then returned to live in Chicago. He has written two
+operas, one of them having been produced by the Bostonians.
+
+Mr. Neidlinger builds his songs upon one guiding principle, that is,
+faithfulness to elocutionary accent and intonation. As he neatly
+phrases it, his songs are "colored sketches on a poet's engravings."
+
+The usual simplicity of Mr. Neidlinger's songs does not forbid a
+dramatic outburst at the proper time, as in the fine mood, "A Leaf;"
+or the sombre depth of "Night," "Nocturne," and "Solitude;" or yet the
+sustainedly poignant anguish of "The Pine-tree." Occasionally the
+accompaniment is developed with elaborateness, as in the bird-flutings
+of "The Robin," and "Memories," an extremely rich work, with its
+mellow brook-music and a hint of nightingale complaint in the minor.
+"Evening Song," a bit of inspired tenderness, is one of Mr.
+Neidlinger's best works. Almost better is "Sunshine," a streak of
+brilliant fire quenched with a sudden cloud at the end. Other valuable
+works are "Messages," the happy little Scotch song, "Laddie," and
+"Dreaming," which is now sombre, now fierce with outbursts of agony,
+but always a melody, always ariose.
+
+Mr. Neidlinger has made a special study of music for children, his
+book, "Small Songs for Small Children," being much used in
+kindergarten work. A book of his, devoted to a synthetic philosophy of
+song, is completed for publication; he calls it "Spenser, Darwin,
+Tyndall, etc., in sugar-coated pills; geography, electricity, and
+hundreds of other things in song."
+
+
+_The Cleveland Colony._
+
+The city of Cleveland contains a musical colony which is certainly
+more important than that of any town of its size. About the tenth of
+our cities in population, it is at least fourth, and possibly third,
+in productiveness in valuable composition.
+
+[Illustration: WILSON G. SMITH.]
+
+The most widely known of Cleveland composers is Wilson G. Smith. He
+has been especially fortunate in hitting the golden mean between
+forbidding abstruseness and trivial popularity, and consequently
+enjoys the esteem of those learned in music as well as of those merely
+happy in it.
+
+[Illustration: Autograph of Wilson G. Smith]
+
+His erudition has persuaded him to a large simplicity; his nature
+turns him to a musical optimism that gives many of his works a
+Mozartian cheer. Graciousness is his key.
+
+He was born in Elyria, O., and educated in the public schools of
+Cleveland, where he graduated. Prevented by delicate health from a
+college education, he has nevertheless, by wide reading, broadened
+himself into culture, and is an essayist of much skill. His musical
+education began in 1876, at Cincinnati, where his teacher, Otto
+Singer, encouraged him to make music his profession. In 1880 he was in
+Berlin, where he studied for several years under Kiel, Scharwenka,
+Moskowski, and Oscar Raif. He then returned to Cleveland, where he
+took up the teaching of organ, piano, voice, and composition.
+
+The most important of Smith's earlier works was a series of five
+pieces called "Hommage à Edvard Grieg," which brought warmest
+commendation from the Scandinavian master. One of the most striking
+characteristics of Smith's genius is his ability to catch the exact
+spirit of other composers. He has paid "homage" to Schumann, Chopin,
+Schubert, and Grieg, and in all he has achieved remarkable success,
+for he has done more than copy their little tricks of expression,
+oddities of manner, and pet weaknesses. He has caught the
+individuality and the spirit of each man.
+
+In his compositions in Grieg-ton Smith has seized the fascinating
+looseness of the Griegorian tonality and its whimsicality. The
+"Humoresque" is a bit of titanic merriment; the "Mazurka" is most
+deftly built and is full of dance-fire; the "Arietta" is highly
+original, and the "Capricietto" shows such ingenious management of
+triplets, and has altogether such a crisp, brisk flavor, that it
+reminds one of Lamb's rhapsody on roast pig, where he exclaims, "I
+tasted _crackling_!" The "Romance," superb in gloom and largeness of
+treatment, is worthy of the composer of "The Death of Asra." A later
+work, "Caprice Norwegienne," is also a strong brew of Scandinavian
+essence.
+
+A "Schumannesque" is written closely on the lines of Schumann's
+"Arabesque." A later "Hommage à Schumann" is equally faithful to
+another style of the master, and dashes forth with characteristic and
+un-naïve gaiety and challenging thinness of harmony, occasionally
+bursting out into great rare chords, just to show what can be done
+when one tries.
+
+The man that could write both this work and the highly faithful
+"Hommage à Schubert," and then whirl forth the rich-colored, sensuous
+fall and purr of the "Hommage à Chopin," must be granted at least an
+unusual command over pianistic materials, and a most unusual acuteness
+of observation.
+
+He can write _à la_ Smith, too, and has a vein quite his own, even
+though he prefers to build his work on well-established lines, and fit
+his palette with colors well tempered and toned by the masters.
+
+In this line is opus 21, a group of four pieces called "Echoes of Ye
+Olden Time." The "Pastorale" is rather Smithian than olden, with its
+mellow harmony, but the "Minuetto" is the perfection of chivalric
+foppery and pompous gaiety. The "Gavotte" suggests the contagious good
+humor of Bach, and the "Minuetto Grazioso," the best of the series,
+has a touch of the goodly old intervals, tenths and sixths, that taste
+like a draught of spring water in the midst of our modern liqueurs.
+
+The musical world in convention assembled has covenanted that certain
+harmonies shall be set apart for pasturage. Just why these arbitrary
+pastorales should suggest meads and syrinxes, and dancing shepherds,
+it would be hard to tell. But this effect they certainly have, and a
+good pastorale is a better antidote for the blues and other civic ills
+than anything I know, except the actual green and blue of fields and
+skies. Among the best of the best pastoral music, I should place
+Smith's "Gavotte Pastorale." It is one of the five pieces in his book
+of "Romantic Studies" (op. 57).
+
+This same volume contains a "Scherzo alla Tarantella," which is full
+of reckless wit. But the _abandon_ is so happy as to seem misplaced in
+a tarantella, that dance whose traditional origin is the maniacal
+frenzy produced by the bite of the tarantula. An earlier Tarantella
+(op. 34) is far truer to the meaning of the dance, and fairly raves
+with shrieking fury and shuddering horror. This is better, to me, than
+Heller's familiar piece.
+
+The "Second Gavotte" is a noble work, the naïve gaiety of classicism
+being enriched with many of the great, pealing chords the modern piano
+is so fertile in. I count it as one of the most spontaneous gavottes
+of modern times, one that is buoyant with the afflation of the olden
+days. It carries a musette of which old Father Bach need not have felt
+ashamed,--one of the most ingenious examples of a drone-bass ever
+written.
+
+The "Menuet Moderne" is musical champagne. A very neat series of
+little variations is sheafed together, and called "Mosaics." Mr. Smith
+has written two pieces well styled "Mazurka Poétique;" the later (opus
+48) is the more original, but the sweet geniality and rapturously
+beautiful ending of opus 38 is purer music. "Les Papillons" is marked
+with a strange touch of negro color; it is, as it were, an Ethiopiano
+piece. Its best point is its cadenza. Smith has a great fondness for
+these brilliant precipitations. They not only give further evidence
+of his fondness for older schools, but they also partially explain the
+fondness of concert performers for his works. His fervid "Love
+Sonnet," his "Polonaise de Concert," full of virility as well as
+virtuosity, and his delicious "Mill-wheel Song," and a late
+composition, a brilliant "Papillon," rich as a butterfly's wing, are
+notable among his numerous works. Possibly his largest achievement is
+the three concert-transcriptions for two pianos. He has taken pieces
+by Grieg, Raff, and Bachmann, and enlarged, enforced, decorated, and
+in every way ennobled them. But to me his most fascinatingly original
+work is his "Arabesque," an entirely unhackneyed and memorable
+composition.
+
+Smith's experience in teaching has crystallized into several pedagogic
+works. His "Scale Playing with particular reference to the
+development of the third, fourth, and fifth fingers of each hand;" his
+"Eight Measure," "Octave," and "Five Minute" studies, have brought the
+most unreserved commendation from the most important of our teachers.
+A late and most happy scheme has been the use of a set of variations
+for technical and interpretative instruction. For this purpose he
+wrote his "Thèmes Arabesques," of which numbers one and eighteen not
+only have emotional and artistic interest, but lie in the fingers in a
+strangely tickling way.
+
+What might be called a professorial simplicity is seen in many of
+Smith's songs. The almost unadorned, strictly essential beauty of his
+melodies and accompaniments is neither neglect nor cheapness; it is
+restraint to the point of classicism, and romanticism all the intenser
+for repression. Take, for example, that perfect song, "If I but
+Knew," which would be one of a score of the world's best short songs,
+to my thinking. Note the open fifths, horrifying if you thump them
+academically, but very brave and straightforward, fitly touched.
+
+There is something of Haydn at his best in this and in the fluty
+"Shadow Song," in "The Kiss in the Rain," and "A Sailor's Lassie," for
+they are as crystalline and direct as "Papa's" own immortal
+"Schäferlied."
+
+[Music: To Mr. Constantin Sternberg.
+
+ARABESQUE.
+
+Wilson G. Smith, Op. 39.
+
+Copyright, 1889, by O. Ditson & Co.]
+
+Smith has gone over to the great majority,--the composers who have set
+"Du bist wie eine Blume;" but he has joined those at the top. Two of
+Smith's songs have a quality of their own, an appeal that is
+bewitching: "Entreaty," a perfect melody, and "The Dimple in Her
+Cheek," which is fairly peachy in color and flavor.
+
+A strange place in the world of music is that held by Johann H. Beck,
+whom some have not feared to call the greatest of American composers.
+Yet none of his music has ever been printed. In this he resembles B.J.
+Lang, of Boston, who keeps his work persistently in the dark, even
+the sacred oratorio he has written.
+
+All of Beck's works, except eight songs, are built on very large
+lines, and though they have enjoyed a not infrequent public
+performance, their dimensions would add panic to the usual timidity
+of publishers. Believing in the grand orchestra, with its complex
+possibilities, as the logical climax of music, Beck has devoted
+himself chiefly to it. He feels that the activity of the modern artist
+should lie in the line of "amplifying, illustrating, dissecting, and
+filling in the outlines left by the great creators of music and the
+drama." He foresees that the most complicated scores of to-day will be
+Haydnesque in simplicity to the beginning of the next century, and he
+is willing to elaborate his best and deepest learning as far as in him
+lies, and wait till the popular audience grows up to him, rather than
+write down to the level of the present appreciation.
+
+The resolve and the patient isolation of such a devotee is nothing
+short of heroic; but I doubt that the truest mission of the artist is
+to consider the future too closely. Even the dictionaries and
+encyclopædias of one decade, are of small use to the next. The tiny
+lyrics of Herrick, though, have no quarrel with time, nor has time any
+grudge against the intimate figurines of Tanagra. The burdened
+trellises of Richard Strauss may feel the frost long before the
+slender ivy of Boccherini's minuet.
+
+[Music: A FRAGMENT OF THE SCORE OF "SALAMMBÔ," BY JOHANN H. BECK.]
+
+Science falls speedily out of date, and philosophy is soon out of
+fashion. Art that uses both, is neither. When it makes crutches of
+them and leans its whole weight on them, it will fall with them in
+the period of their inevitable decay.
+
+Of course, there is evolution here as well as in science. The artist
+must hunt out new forms of expressing his world-old emotions, or he
+will not impress his hearers, and there is no gainsaying Beck's thesis
+that the Chinese puzzle of to-day will be the antique simplicity of a
+later epoch. But it must never be forgotten, that art should be
+complex only to avoid the greater evils of inadequacy and triteness. A
+high simplicity of plan and an ultimate popularity of appeal are
+essentials to immortal art.
+
+It is my great misfortune never to have heard one of Beck's works
+performed, but, judging from a fragment of a deliciously dreamy
+moonlight scene from his unfinished music drama, "Salammbô," which he
+kindly sent me, and from the enthusiasm of the severest critics, he
+must be granted a most unusual poetic gift, solidity and whimsicality,
+and a hardly excelled erudition. His orchestration shows a hand lavish
+with color and cunning in novel effects. Several of his works have
+been performed with great applause in Germany, where Beck spent many
+years in study. He was born at Cleveland, in 1856, and is a graduate
+of the Leipzig Conservatorium.
+
+In art, quality is everything; quantity is only a secondary
+consideration. It is on account of the quality of his work that James
+H. Rogers must be placed among the very best of modern song-writers,
+though his published works are not many. When one considers his
+tuition, it is small wonder that his music should show the finish of
+long mastery. Born in 1857, at Fair Haven, Conn., he took up the study
+of the piano at the age of twelve, and at eighteen was in Berlin,
+studying there for more than two years with Löschorn, Rohde, Haupt,
+and Ehrlich, and then in Paris for two years under Guilmant, Fissot,
+and Widor. Since then he has been in Cleveland as organist, concert
+pianist, and teacher.
+
+[Illustration: Autograph of James H. Rogers]
+
+His songs are written usually in a characteristic form of dramatic,
+yet lyric recitative. His "Album of Five Songs" contains notable
+examples of this style, particularly the "Good-Night," "Come to Me in
+My Dreams," and the supremely tragic climax of "Jealousy." The song,
+"Evening," with its bell-like accompaniment, is more purely lyric,
+like the enchanting "At Parting," which was too delicately and
+fragrantly perfect to escape the wide popularity it has had. His
+"Declaration" is ravishingly exquisite, and offers a strange contrast
+to the "Requiescat," which is a dirge of the utmost largeness and
+grandeur. His graceful "Fly, White Butterflies," and "In Harbor," and
+the dramatic setting of "The Loreley," the jovial "Gather Ye Rosebuds"
+of jaunty Rob Herrick, the foppish tragedy of "La Vie est Vaine" (in
+which the composer's French prosody is a whit askew), that gallant,
+sweet song, "My True Love Hath My Heart," and a gracious setting of
+Heine's flower-song, are all noteworthy lyrics. He has set some of
+Tolstoï's words to music, the sinister love of "Doubt Not, O Friend,"
+and the hurry and glow of "The First Spring Days," making unusually
+powerful songs. In the "Look Off, Dear Love," he did not catch up
+with Lanier's great lyric, but he handled his material most
+effectively in Aldrich' "Song from the Persian," with its Oriental
+wail followed by a martial joy. The high verve that marks his work
+lifts his "Sing, O Heavens," out of the rut of Christmas anthems.
+
+Of instrumental work, there is only one small book, "Scènes du Bal," a
+series of nine pieces with lyric characterization in the spirit, but
+not the manner of Schumann's "Carnéval." The most striking numbers are
+"Les Bavardes," "Blonde et Brune," and a fire-eating polonaise.
+
+These close the lamentably small number of manifestations of a most
+decisive ability.
+
+Another Cleveland composer well spoken of is Charles Sommer.
+
+A young woman of genuine ability, who has been too busy with teaching
+and concert pianism to find as much leisure as she deserves for
+composition, is Patty Stair, a prominent musical figure in Cleveland.
+Her theoretical studies were received entirely at Cleveland, under F.
+Bassett. Her published works include a book of "Six Songs," all of
+them interesting and artistic, and the "Madrigal" particularly
+ingenious; and a comic glee of the most irresistible humor, called "An
+Interrupted Serenade;" in manuscript are a most original song,
+"Flirtation," a jovial part song for male voices, "Jenny Kissed Me," a
+berceuse for violin and piano, a graceful song, "Were I a Brook," a
+setting of Thomas Campion's "Petition," and another deeply stirring
+religious song for contralto, "O Lamb of God."
+
+
+_The St. Louis Colony._
+
+The most original and important contribution to American music that
+St. Louis has made, is, to my mind, the book of songs written by
+William Schuyler. The words were chosen from Stephen Crane's book of
+poems, "The Black Riders." The genius of Crane, concomitant with
+eccentricity as it was, is one of the most distinctive among American
+writers. The book called "The Black Riders" contains a number of
+moods that are unique in their suggestiveness and originality. Being
+without rime or meter, the lines oppose almost as many difficulties to
+a musician as the works of Walt Whitman; and yet, as Alfred Bruneau
+has set Zola's prose to music, so some brave American composer will
+find inspiration abundant in the works of Walt Whitman and Emily
+Dickinson.
+
+[Music: III.
+
+_WILLIAM SCHUYLER._
+
+    There was, before me,
+    Mile upon mile of snow, ice, burning sand.
+    And yet I could look beyond all this,
+    To a place of infinite beauty;
+    And I could see the loveliness of her
+    Who walked in the shade of the trees.
+    When I gazed,
+    All was lost
+    But this place of beauty and her
+    When I gazed,
+    And in my gazing, desired
+    Then came again
+    Mile upon mile,
+    Of snow, ice, burning sand, burning sand.
+
+Words used by permission of Copeland and Day.
+
+Copyright, 1897, by Wm. Schuyler.
+
+FROM WM. SCHUYLER'S "BLACK RIDERS."]
+
+Schuyler was born in St. Louis, May 4, 1855, and music has been his
+livelihood. He is largely self-taught, and has composed some fifty
+pieces for the piano, a hundred and fifty songs, a few works for
+violin, viola, and 'cello, and two short trios.
+
+In his setting of these lines of Crane's, Schuyler has attacked a
+difficult problem in an ideal manner. To three of the short poems he
+has given a sense of epic vastitude, and to two of them he has given a
+tantalizing mysticism. The songs, which have been published privately,
+should be reproduced for the wide circulation they deserve.
+
+Another writer of small songs displaying unusual individuality is
+George Clifford Vieh, who was born in St. Louis and studied there
+under Victor Ehling. In 1889, he went to Vienna for three years,
+studying under Bruckner, Robert Fuchs, and Dachs. He graduated with
+the silver medal there, and returned to St. Louis, where he has since
+lived as a teacher and pianist.
+
+Alfred George Robyn is the most popular composer St. Louis has
+developed. He was born in 1860, his father being William Robyn, who
+organized the first symphonic orchestra west of Pittsburg. Robyn was a
+youthful prodigy as a pianist; and, at the age of ten, he succeeded
+his father as organist at St. John's Church, then equipped with the
+best choir in the city. It was necessary for the pedals of the organ
+to be raised to his feet. At the age of sixteen he became solo pianist
+with Emma Abbott's company. As a composer Robyn has written some three
+hundred compositions, some of them reaching a tremendous sale. A few
+of them have been serious and worth while, notably a piano concerto, a
+quintette, four string quartettes, a mass, and several orchestral
+suites.
+
+There are not many American composers that have had a fugue published,
+or have written fugues that deserve publication. It is the distinction
+of Ernest Richard Kroeger that he has written one that deserved, and
+secured, publication. This was his 41st opus. It is preceded by a
+prelude which, curiously enough, is thoroughly Cuban in spirit and is
+a downright Habanera, though not so announced. This fiery composition
+is followed by a four-voiced "real" fugue. The subject is genuinely
+interesting, though the counter-subject is as perfunctory as most
+counter-subjects. The middle-section, the stretto-work, and the
+powerful ending, give the fugue the right to exist.
+
+Among other publications are a suite for piano (op. 33), in which a
+scherzo has life, and a sonata for violin and piano, in which,
+curiously enough, the violin has not one instance of double-stopping,
+and the elaborating begins, not with the first subject taken
+vigorously, but with the second subject sung out softly. The last
+movement is the best, a quaint and lively rondo. A set of twelve
+concert études show the influence of Chopin upon a composer who writes
+with a strong German accent. The étude called "Castor and Pollux" is a
+vigorous number with the chords of the left hand exactly doubled in
+the right; another étude, "A Romanze," is noteworthy for the practice
+it gives in a point which is too much ignored even by the best
+pianists; that is, the distinction between the importance of the tones
+of the same chord struck by the same hand. A work of broad
+scholarship, which shows the combined influence of Beethoven and
+Chopin, who have chiefly affected Kroeger, is his sonata (op. 40). A
+dominant pedal-point of fifty-eight measures, in the last movement, is
+worth mentioning. In a "Danse Négre" and a "Caprice Négre," he has
+evidently gone, for his Ethiopian color, not to the actual negro
+music, but to the similar compositions of Gottschalk. Kroeger was born
+in St. Louis, August 10, 1862. At the age of five he took up the study
+of the piano and violin. His theoretical tuition was all had in this
+country. He has written many songs, a piano concerto, sonatas for
+piano and viola, and piano and 'cello, two trios, a quintette, and
+three string quartettes, as well as a symphony, a suite, and overtures
+based on "Endymion," "Thanatopsis," "Sardanapalus" (produced by Anton
+Seidl, in New York), "Hiawatha," and "Atala."
+
+
+
+
+CHAPTER V.
+
+THE WOMEN COMPOSERS.
+
+
+This is not the place to take up cudgels for a contest on the problem
+of woman's right to respect in the creative arts. There are some, it
+is true, who deny fervently that the feminine half of mankind ever has
+or can or ever will do original and important work there. If you press
+them too hard they will take refuge up this tree, that all women who
+ever have had success have been actually mannish of mind,--a dodge in
+question-begging that is one of the most ingenious ever devised; a
+piece of masculine logic that puts to shame all historic examples of
+womanly fallacy and sophistry. It seems to me that the question is
+easily settled on this wise: it is impossible for a rational mind to
+deny that the best work done in the arts by women is of better
+quality than the average work done by men. This lets the cat's head
+out of the bag, and her whole body follows pell-mell.
+
+In a few instances it seems to me that the best things done by women
+equal the best things done by men in those lines. The best verses of
+Sappho, the best sonnets of Mrs. Browning, the best chapters of George
+Eliot, the best animal paintings of Rosa Bonheur, do not seem to me
+surpassed by their rivals in masculine work. If anything in verse of
+its sort is nobler than Mrs. Howe's "Battle Hymn of the Republic," it
+is still in manuscript. If there is any poet of more complete
+individuality than Emily Dickinson, I have not run across his books.
+In music I place two or three of Miss Lang's small songs among the
+chief of their manner.
+
+All over the world the woman-mind is taking up music. The ban that led
+Fanny Mendelssohn to publish her music under her brother's name, has
+gone where the puritanic theory of the disgracefulness of the musical
+profession now twineth its choking coils. A publisher informs me that
+where compositions by women were only one-tenth of his manuscripts a
+few years ago, they now form more than two-thirds. From such activity,
+much that is worth while is bound to spring. Art knows no sex, and
+even what the women write in man-tone is often surprisingly strong,
+though it is wrongly aimed. But this effort is like the bombast of a
+young people or a juvenile literature; the directness and repose of
+fidelity to nature come later. The American woman is in the habit of
+getting what she sets her heart on. She has determined to write
+music.
+
+With an ardor that was ominous of success, Miss Amy Marcy Cheney,
+after a short preliminary course in harmony, resolved to finish her
+tuition independently. As an example of the thoroughness that has
+given her such unimpeachable knowledge of her subject, may be
+mentioned the fact that she made her own translation of Berlioz and
+Gavaërt. She was born in New Hampshire, of descent American back to
+colonial times. At the age of four she wrote her opus 1. She is a
+concert pianist as well as a frequent composer in the largest forms.
+She is now Mrs. H.H.A. Beach.
+
+[Illustration: MRS. H.H.A. BEACH.]
+
+Not many living men can point to a composition of more maturity and
+more dignity than Mrs. Beach' "Jubilate," for the dedication of the
+Woman's Building at the Columbian Exposition. The work is as big as
+its name; it is the best possible answer to skeptics of woman's
+musical ability. It may be too sustainedly loud, and the infrequent
+and short passages piano are rather breathing-spells than contrasting
+awe, but frequently this work shows a very magnificence of power and
+exaltation. And the ending is simply superb, though I could wish that
+some of the terrific dissonances in the accompaniment had been put
+into the unisonal voices to widen the effect and strengthen the final
+grandeur. But as it is, it rings like a clarion of triumph,--the cry
+of a Balboa discovering a new sea of opportunity and emotion.
+
+Another work of force and daring is the mass in E flat (op. 5), for
+organ and small orchestra. It is conventionally ecclesiastic as a
+rule, and suffers from Mrs. Beach' besetting sin of over-elaboration,
+but it proclaims a great ripeness of technic. The "Qui Tollis" is
+especially perfect in its sombre depth and richness. The "Credo" works
+up the cry of "crucifixus" with a thrilling rage of grief and a
+dramatic feeling rare in Mrs. Beach' work. This work was begun at the
+age of nineteen and finished three years later. It was given with
+notable effect in 1892 by the Händel and Haydn Society of Boston.
+
+Mrs. Beach' "Valse Caprice" has just one motive,--to reach the maximum
+of technical trickiness and difficulty. There is such a thing as
+hiding one's light under a bushel, and there is such a thing as
+emptying a bushel of chaff upon it.
+
+"Fireflies" is a shimmering and flitting caprice of much ingenuity,
+but it keeps in the field of dissonance almost interminably, and clear
+harmony is not so much the homing-place of its dissonance, as an
+infrequent glint through an inadvertent chink. This neat composition
+is one of four "Sketches for the Piano," of which "Phantoms" is
+delightful with ghostliness. "In Autumn" is a most excellent
+tone-poem, and "Dreaming" is a well-varied lyric. As a colorist Mrs.
+Beach is most original and studious. Her tireless hunt for new tints
+often diverts her indeed from the direct forthright of her meaning,
+but the "Danse des Fleurs" is rich in its gorgeousness. The flowing
+grace of the "Menuet Italien" makes it an uncharacteristic but
+charming work.
+
+[Music: PHANTOMS.
+
+    "Toute fragiles fleurs, sitôt mortes que nées."
+                                  Victor Hugo.
+
+Mrs. H.H.A. Beach.
+
+Copyright, 1892, by Arthur P. Schmidt.
+
+A FRAGMENT.]
+
+Horace, you know, promises to write so that any one will think him
+easy to equal, though much sweat will be shed in the effort. It is the
+transparency of her studiousness, and the conspicuous labor in
+polishing off effects and mining opportunity to the core, that chiefly
+mars the work of Mrs. Beach, in my opinion. One or two of the little
+pieces that make up the half-dozen of the "Children's Carnival" are
+among her best work, for the very cheery ease of their look.
+"Pantalon," "Harlequin," "Columbine," and "Secrets" are infinitely
+better art than a dozen valse-caprices.
+
+Both the defects and effects of her qualities haunt Mrs. Beach' songs.
+When she is sparing in her erudition she is delightful. Fourteen of
+her songs are gathered into a "Cyclus." The first is an "Ariette,"
+with an accompaniment imitating the guitar. It is both tender and
+graceful. Probably her best song is the setting of W.E. Henley's fine
+poem, "Dark is the Night." It is of the "Erl-King" style, but highly
+original and tremendously fierce and eerie. The same poet's "Western
+Wind" is given a setting contrastingly dainty and serene. "The
+Blackbird" is delicious and quite unhackneyed. "A Secret" is bizarre,
+and "Empress of the Night" is brilliant. With the exception of a
+certain excess of dissonance for a love-song, "Wilt Thou Be My
+Dearie?" is perfect with amorous tenderness. "Just for This!" is a
+delightful vocal scherzo of complete originality and entire success.
+"A Song of Love" is passionate and yet lyric, ornamented but not
+fettered. "Across the World" has been one of Mrs. Beach' most popular
+songs; it is intense and singable. "My Star" is tender, and the
+accompaniment is richly worked out on simple lines. Three Vocal Duets
+are well-handled, but the long "Eilende Wolken" has a jerky recitative
+of Händelian _naïveté_, to which the aria is a welcome relief. Her
+sonata for piano and violin has been played here by Mr. Kneisel, and
+in Berlin by Mme. Carreño and Carl Halir.
+
+Besides these, Mrs. Beach has done not a little for the orchestra. Her
+"Gaelic Symphony" is her largest work, and it has been often played by
+the Boston Symphony, the Thomas, and other orchestras. It is
+characterized by all her exuberant scholarship and unwearying energy.
+
+[Illustration: MARGARET RUTHVEN LANG.]
+
+Margaret Ruthven Lang, the daughter of B.J. Lang, is American by birth
+and training. She was born in Boston, November 27, 1867. She has
+written large works, such as three concert overtures, two of which
+have been performed by the Thomas and the Boston Symphony Orchestras,
+though none of them are published. Other unpublished works are a
+cantata, two arias with orchestral accompaniment, and a rhapsody for
+the piano. One rhapsody has been published, that in E minor; in spite
+of its good details, it is curiously unsatisfying,--it seems all
+prelude, interlude, and postlude, with the actual rhapsody
+accidentally overlooked. A "Meditation" is bleak, with a strong, free
+use of dissonance.
+
+"The Jumblies" is a setting of Edward Lear's elusive nonsense, as full
+of the flavor of subtile humor as its original. It is for male chorus,
+with an accompaniment for two pianos, well individualized and erudite.
+It is in her solo songs, however, that her best success is reaped.
+
+When I say that Mrs. Beach' work is markedly virile, I do not mean it
+as compliment unalloyed; when I find Miss Lang's work supremely
+womanly, I would not deny it great strength, any more than I would
+deny that quality to the sex of which Joan of Arc and Jael were not
+uncharacteristic members.
+
+Such a work as the "Maiden and the Butterfly" is as fragile and rich
+as a butterfly's wing. "My Lady Jacqueminot" is exquisitely,
+delicately passionate. "Eros" is frail, rare, ecstatic. "Ghosts" is
+elfin and dainty as snowflakes. The "Spinning Song" is inexpressibly
+sad, and such music as women best understand, and therefore ought to
+make best. But womanliness equally marks "The Grief of Love," which is
+in every sense big in quality; marks the bitterness of "Oh, What Comes
+over the Sea," the wailing Gaelic sweetness of the "Irish Love Song,"
+and the fiery passion of "Betrayed," highly dramatic until its rather
+trite ending. "Nameless Pain" is superb. Her "Lament" I consider one
+of the greatest of songs, and proof positive of woman's high
+capabilities for composition. Miss Lang has a harmonic individuality,
+too, and finds out new effects that are strange without strain.
+
+[Music: GHOSTS.
+
+Words by Munkittrick.
+
+MARGARET RUTHVEN LANG.
+
+    Out in the misty moonlight, the first snow flakes I see,
+    As they frolic among the leafless boughs of the apple tree.
+    Faintly they seem to whisper, as round the boughs they wing;
+    "We are the ghosts of the flowers who died in the early spring,
+    Who died in the early spring."
+
+Copyright, 1889, by Arthur P. Schmidt & Co.]
+
+"My Turtle Dove," among the "Five Norman Songs," in fearlessness and
+harmonic exploration shows two of the strongest of Miss Lang's traits.
+Her _récherchés_ harmonies are no pale lunar reflection of masculine
+work. Better yet, they have the appearance of spontaneous ease, and
+the elaborateness never obtrudes itself upon the coherence of the
+work, except in a few such rare cases as "My Native Land," "Christmas
+Lullaby," and "Before My Lady's Window." They are singable to a degree
+unusual in scholarly compositions. To perfect the result Miss Lang
+chooses her poems with taste all too rare among musicians, who seem
+usually to rate gush as feeling and gilt as gold. Her "Oriental
+Serenade" is an example of weird and original intervals, and "A Spring
+Song," by Charlotte Pendleton, a proof of her taste in choosing words.
+
+Her opus 32 is made up of two songs, both full of fire and
+originality. Opus 33 is a captivating "Spring Idyl" for the piano, for
+which she has also written a "Revery," of which the exquisiteness of
+sleep is the theme. The music is delicious, and the ending is a rare
+proof of the beautiful possibilities of dissonance.
+
+Personally, I see in Miss Lang's compositions such a depth of
+psychology that I place the general quality of her work above that of
+any other woman composer. It is devoid of meretriciousness and of any
+suspicion of seeking after virility; it is so sincere, so true to the
+underlying thought, that it seems to me to have an unusual chance of
+interesting attention and stirring emotions increasingly with the
+years.
+
+An interesting and genuine individuality will transpire through the
+most limited amount of creative art. This has been the case with the
+few published works of a writer, whose compositions, though
+unpretentious in size and sentiment, yet reveal a graceful fancy, and
+a marked contemplation upon the details of the moods.
+
+Irene Baumgras was born at Syracuse, New York, and studied the piano
+at the Cincinnati Conservatory of Music, where she took the Springer
+gold medal in 1881. She studied in Berlin with Moszkowski and Oscar
+Raif. She was married in Berlin, in 1884, to Philip Hale, the
+distinguished Boston musical critic.
+
+Her devotion to her art was so great that her health broke down from
+overwork, and she was compelled to give up piano playing. Some of her
+compositions have been published under the name of "Victor René." Her
+15th opus is made up of three "Morceaux de Genre," of which the
+"Pantomime" is a most volatile harlequinade, with moods as changeful
+as the key; a remarkably interesting composition. Four "Pensées
+Poétiques" make up opus 16. They include a blithe "Chansonette" and a
+"Valse Impromptu," which, unlike the usual impromptu, has the _ex
+tempore_ spirit. Of her songs, "Mystery" is a charming lyric; "Maisie"
+is faithful to the ghoulish merriment of the words; and "An Opal
+Heart" is striking for interesting dissonances that do not mar the
+fluency of the lyric.
+
+Of much refinement are the fluent lyrics of Mrs. Mary Knight Wood.
+They show a breadth in little, and a fondness for unexpected harmonies
+that do not disturb the coherence of her songs. They possess also a
+marked spontaneity. An unexpected effect is gained by the brave E flat
+in her "Serenade." Her popular "Ashes of Roses" also has a rich
+harmonic structure. Among other songs, one with an effective obbligato
+for the violoncello deserves special praise. She has written also for
+the violin and piano, and trios for 'cello, violin, and piano.
+
+Other women who have written certain works of serious intention and
+worthy art, are Mrs. Clara A. Korn, Laura Sedgwick Collins, the
+composer of an ingenious male quartette, "Love is a Sickness," and
+many excellent songs, among them, "Be Like That Bird," which is
+ideally graceful; Fanny M. Spencer, who has written a collection of
+thirty-two original hymn tunes, a good anthem, and a Magnificat and
+Nunc Dimittis of real strength; Julie Rivé-King, the author of many
+concert pieces; Patty Stair, of Cleveland; Harriet P. Sawyer, Mrs.
+Jessie L. Gaynor, Constance Maud, Jenny Prince Black, Charlotte M.
+Crane, and Helen Hood.
+
+
+
+
+CHAPTER VI.
+
+THE FOREIGN COMPOSERS.
+
+
+Ours is so young, and so cosmopolite, a country, that our art shows
+the same brevity of lineage as our society. Immigration has played a
+large part in the musical life of the United States, as it has in the
+make-up of the population; and yet for all the multiplexity of his
+ancestry, the American citizen has been assimilated into a distinctive
+individuality that has all the traits of his different forbears, and
+is yet not closely like any of them. So, American music, taking its
+scale and most of its forms from the old country, is yet developing an
+integrity that the future will make much of. As with the federation of
+the States, so will one great music ascend polyphonically,--_e
+pluribus unum_.
+
+In compiling this directory of American composers, it has been
+necessary to discuss the works only of the composers who were born in
+this country. It is interesting to see how few of these names are
+un-American, how few of them are Germanic (though so many of them have
+studied in Germany). Comment has often been made upon the Teutonic
+nature of the make-up of our orchestras. It is pleasant to find that a
+very respectable list of composers can be made up without a
+preponderance of German names.
+
+The music life of our country, however, has been so strongly
+influenced and enlivened and corrected by the presence of men who were
+born abroad that some recognition of their importance should somewhere
+be found. Many of them have become naturalized and have brought with
+them so much enthusiasm for our institutions that they are actually
+more American than many of the Americans; than those, particularly,
+who, having had a little study abroad, have gone quite mad upon the
+superstition of "atmosphere," and have brought home nothing but
+foreign mannerisms and discontent.
+
+Among the foreign born who have made their home in America, I must
+mention with respect, and without attempting to suggest order of
+precedence, the following names:
+
+C.M. Loeffler, Bruno Oscar Klein, Leopold Godowski, Victor Herbert,
+Walter Damrosch, Julius Eichberg, Dr. Hugh A. Clarke, Louis V. Saar,
+Asgar Hamerik, Otto Singer, August Hyllested, Xavier Scharwenka,
+Rafael Joseffy, Constantin von Sternberg, Adolph Koelling, August
+Spanuth, Aimé Lachaume, Max Vogrich, W.C. Seeboeck, Julian Edwards,
+Robert Coverley, William Furst, Gustave Kerker, Henry Waller, P.A.
+Schnecker, Clement R. Gale, Edmund Severn, Platon Brounoff, Richard
+Burmeister, Augusto Rotoli, Emil Liebling, Carl Busch, John Orth,
+Ernst Perabo, Ferdinand Dunkley, Mrs. Clara Kathleen Rogers, Miss
+Adele Lewing, Mrs. Elisa Mazzucato Young.
+
+It is perhaps quibbling to rule out some of these names from
+Americanism, and include certain of those whom I have counted American
+because they were born here, in spite of the fact that their whole
+tuition and tendency is alien. But the line must be drawn somewhere.
+The problem is still more trying in the case of certain composers who,
+having been born here, have expatriated themselves, and joined that
+small colony of notables whom America has given to Europe as a first
+instalment in payment of the numerous loans we have borrowed from the
+old country.
+
+For the sake of formally acknowledging this debt, I will not endeavor
+to discuss here the careers of George Templeton Strong, Arthur Bird,
+or O.B. Boise, all three of whom were born in this country, but have
+elected to live in Berlin. Their distinction in that city at least
+palely reflects some credit upon the country that gave them birth.
+
+
+
+
+POSTLUDE.
+
+
+In the ninth century Iceland was the musical center of the world;
+students went there from all Europe as to an artistic Mecca. Iceland
+has long lost her musical crown. And Welsh music in its turn has
+ceased to be the chief on earth. Russia is sending up a strong and
+growing harmony marred with much discord. Some visionaries look to her
+for the new song. But I do not hesitate to match against the serfs of
+the steppes the high-hearted, electric-minded free people of our
+prairies; and to prophesy that in the coming century the musical
+supremacy and inspiration of the world will rest here overseas, in
+America.
+
+
+THE END.
+
+
+
+
+INDEX.
+
+[Transcriber's Note: Misspellings in the original Index have been
+corrected, and the entries have been placed in the proper order.]
+
+
+Abt Society, 198.
+
+Academy of Dramatic Arts, 79.
+
+Æschylean Chorus, 53.
+
+Agramonte, Emilio, 41.
+
+Aldrich, Anna Reeve, 313.
+
+Aldrich, T.B., 89, 108, 204.
+
+Allen, C.N., 244.
+
+Allen, N.H., 273.
+
+Allen, P.C., 272.
+
+Allison, XIII.
+
+Ambrosius, Johanna, 349.
+
+Americanism in Music, 12, 33, 58.
+
+Apollo Club, 168, 236, 331.
+
+Apthorp, W.F., 370.
+
+Arion Society, 190.
+
+Arnold, Maurice, 135, 139.
+
+Arnold, Sir Edwin, 171.
+
+Aus der Ohe, Adèle, 293.
+
+
+Bach, J.S., 15, 225, 227, 248, 399, 400.
+
+Baltzell, Willard J., 275.
+
+Bartlett, H.N., 317, 327.
+
+Bassett, F., 415.
+
+Bates, Arlo, 187, 368.
+
+Baumgras, Irene, 439.
+
+Beach, Mrs. H.H.A., 426, 432, 433.
+
+Beck, Johann H., 406, 411.
+
+Beethoven, 12, 52, 56, 100, 116, 148, 163, 178, 208, 306.
+
+Bendel, 237.
+
+"Ben Hur," 72.
+
+Benkert, G.F., 119.
+
+Bennett, Sterndale, 257.
+
+Berlioz, 144, 219, 243, 307, 426.
+
+Bernard of Cluny's, 183.
+
+Best, W.T., 361.
+
+Bird, Arthur, 446.
+
+Black, Jennie Prince, 441.
+
+"Blind Tom," 59.
+
+Boccherini, 407.
+
+Bodenstedt, 364.
+
+Boise, O.B., 292, 299, 388, 446.
+
+Boston Colony, 269, 350, 371.
+
+Boston Symphony Orchestra, 18, 219, 233, 269, 281, 282, 286, 292, 432.
+
+Bourdillon's, 109, 312.
+
+Brahms, 56, 97, 114, 255, 284.
+
+Breton, XIII.
+
+Brewer, J.H., 331, 334.
+
+Bristow, George F., 246.
+
+Brockway, Howard, 298, 304.
+
+Brounoff, Platon, 445.
+
+Browning, E.B., 424.
+
+Browning, Robt., 89, 99.
+
+Bruce, Edwin, 388.
+
+Bruch, Max, 136.
+
+Bruckner, 419.
+
+Bruneau, Alfred, 418.
+
+Buck, Dudley, 165, 173, 174, 305, 324, 331, 361, 381, 392.
+
+Bullard, F.F., 351, 357.
+
+Burmeister, Richard, 445.
+
+Burns, 204.
+
+Burton, F.R., 273.
+
+Busch, Carl, 445.
+
+Byrd, XIII.
+
+Byron, 252.
+
+
+Canova, 12.
+
+Carew, XIII.
+
+Carnegie, A., 256.
+
+Carpenter, H.B., 213.
+
+Carreño, 36.
+
+Carroll, Lewis, 212.
+
+Carter, R.I., 294.
+
+Chadwick, Geo. W., 18, 175, 210, 220, 244, 347, 358.
+
+Chaminade, 218.
+
+Champion, T., XIII., 415.
+
+Cheney, J.V., 89, 90.
+
+Chicago Colony, 18.
+
+Chicago Orchestra, 18.
+
+Chinese Music, 64, 86, 140, 143.
+
+Chopin, 52, 56, 90, 98, 100, 110, 116, 138, 163, 177, 178, 211, 250,
+294, 317, 319, 338, 396, 421.
+
+Cincinnati Colony, 191, 270, 272.
+
+Clarke, H.A., 198, 444.
+
+Clementi, 113.
+
+Cleveland Colony, 394, 415.
+
+Coccius, 132, 249.
+
+Coerne, L.A., 262, 265.
+
+Coleridge, 62, 309.
+
+College Music, 20, 38.
+
+Collins, Laura S., 441.
+
+Columbus, 234.
+
+Converse, C.C., 256, 261.
+
+Coombs, C.W., 343.
+
+Corelli, 15.
+
+Couperin, 16.
+
+Coverley, Robert, 444.
+
+Cramer, 321.
+
+Crane, Charlotte M., 441.
+
+Crane, Stephen, 415, 418.
+
+
+Dachs, 419.
+
+Damrosch, Walter, 261, 444.
+
+Dante, 229.
+
+De Koven, R., 334.
+
+De Musset, A., 109.
+
+Dennée, Charles, 374.
+
+Dickinson, Emily, 369, 418, 424.
+
+Diemer, 134.
+
+Donne, Jno., XIII.
+
+Dowland, XIII.
+
+Draessecke, 343.
+
+Drake, Rodman, 131, 168.
+
+Drayton, XIII.
+
+Dreams and Music, 62.
+
+Dressler, L.R., 345.
+
+Drummond, XIII., 153.
+
+Dubois, 134, 358.
+
+Dudley, Governor, 166.
+
+Dunbar, P.L., 206.
+
+Dunkley, Ferdinand, 445.
+
+Dvôrák, A., 22, 77, 128, 129, 131, 132, 136, 278, 279, 305, 349, 371.
+
+
+Eddy, Clarence, 59, 348.
+
+Edison, 16.
+
+Edwards, Julian, 444.
+
+Egyptian Music, 72.
+
+Ehlert, 37.
+
+Ehling, Victor, 419.
+
+Ehrlich, 412.
+
+Eichberg, Julius, 444.
+
+Elson, L.C., 16.
+
+Emerson, 14.
+
+Emery, Stephen A., 17, 95, 175, 244, 358, 375.
+
+English Music, 12, 248, 329.
+
+Esputa, John, 119.
+
+
+Fairlamb, J.R., 344.
+
+Farwell, A., 348.
+
+Féval, 79.
+
+Field, John, 227.
+
+Finck, Henry T., 54.
+
+Fisher, W.A., 348, 371.
+
+Fissot, 412.
+
+Fletcher, XII., 150.
+
+Florio, 31.
+
+Foerster, A.M., 248, 256.
+
+Folk-music, 22.
+
+Foote, Arthur, 18, 224, 234.
+
+Ford, XIII.
+
+Franz, Robt., 101, 104, 106, 173, 203, 248.
+
+French influence, 29, 36, 357.
+
+Fuchs, Robt., 419.
+
+Furst, Wm., 444.
+
+
+Gale, Clement R., 445.
+
+Gale, Norman, 88.
+
+Gavaërt, 426.
+
+Gaynor, Mrs. Jessie L., 441.
+
+Genée, 335.
+
+German Influence, etc., 17, 40, 49, 59, 119, 132, 260.
+
+Gerok, 106.
+
+Gilchrist, W.W., 196, 209.
+
+Gilder, R.W., 277.
+
+Gilmore, P.S., 124, 261.
+
+Gleason, F.G., 348, 376, 382.
+
+Godard, 358.
+
+Godowski, L., 444.
+
+Goethe, 43, 95, 255.
+
+Goetschius, Percy, 388.
+
+Goldmark, Carl, 279, 281.
+
+Goldmark, Rubin, 278, 282.
+
+Goodrich, A.J., 28, 130, 171, 199, 380, 388, 391.
+
+Goodrich, J. Wallace, 348.
+
+Gottschalk, Louis Moreau, 17, 301, 422.
+
+Gounod, 321.
+
+Grabau, 371.
+
+Grand Operas, 152, 262.
+
+Gray, XII.
+
+Greek Music, 72, 73, 155.
+
+Greene, XII.
+
+Grieg, 39, 54, 134, 190, 281, 396.
+
+Grill, 132, 249.
+
+Guilbert, Yvette, 129.
+
+Guilmant, 358, 412.
+
+Guyon, 322.
+
+
+Hadley, H.K., 241, 247.
+
+Haggard, Rider, 214.
+
+Hale, F.W., 358.
+
+Hale, Mrs. Philip, 439.
+
+Hale, Philip, 186, 288, 439.
+
+Halir, Carl, 432.
+
+Hall, Bishop, XIII.
+
+Hamerik, A., 444.
+
+Hammond, Dr. Wm. A., 62.
+
+Händel, 15, 152, 162, 184, 246, 432.
+
+Händel and Haydn Society, 374, 428.
+
+Hanscom, E.W., 275.
+
+Hanslick, 129.
+
+Harris, Victor, 336.
+
+Harvard University, 154, 222.
+
+Hastings, F.S., 344.
+
+Haupt, 151, 257, 311, 412.
+
+Hauptmann, 167, 257, 347.
+
+Hawley, C.B., 32.
+
+Haydn, 403, 407.
+
+Heindl, H., 244.
+
+Heine, 44, 88, 104, 105, 196, 215, 247, 309, 364, 413.
+
+Heller, 164, 350.
+
+Hemans, 202.
+
+Henderson, W.J., 185.
+
+Henley, W.E., 431.
+
+Henselt, 104.
+
+Herbert, XIII.
+
+Herbert, Victor, 444.
+
+Herford, Oliver, 369.
+
+Herrick, XIII., 87, 179, 228, 369, 407, 413.
+
+Heyman, 37.
+
+Hieber, 263.
+
+Hiler, E.O., 375.
+
+Hood, Helen, 441.
+
+Homer, Sidney, 375.
+
+Hopkins, H.P., 349.
+
+Hopper, 126.
+
+Horace, 430.
+
+Hovey, Richard, 110, 351.
+
+Howe, Mrs. J.W., 424.
+
+Humorous Music, 25, 64, 212, 433.
+
+Humperdinck, 348.
+
+Huneker, James, 39, 52, 54, 281.
+
+Huss, H.H., 291, 297, 351.
+
+Hyllested, August, 444.
+
+
+Iceland, 447.
+
+Indian Music, 22, 48, 49.
+
+Irving, 170.
+
+
+Jacobsen, O.F., 322.
+
+Jadassohn, 211, 271.
+
+Japanese Music, 139, 142.
+
+Jensen, G., 136, 350.
+
+Joachim, 97.
+
+John, 343.
+
+Johns, Clayton, 368, 370.
+
+Jonson, XII., 57, 88.
+
+Jordan, Jules, 274.
+
+Joseffy, 71, 278, 444.
+
+
+Kaltenborn, Franz, 19, 279, 295.
+
+Keats, 152, 296.
+
+Kelley, Edgar S., 27, 57, 76, 140, 272.
+
+Kerker, Gustave, 444.
+
+Kiel, 237, 371, 396.
+
+Kieserling, R., Jr., 270.
+
+Kipling, 50, 206, 359.
+
+Klein, B.O., 444.
+
+Klindworth, Karl, 95, 96, 97, 111.
+
+Kneisel, Franz, 263, 286, 432.
+
+Koelling, Adolph, 444.
+
+Korn, Mrs. Clara A., 441.
+
+Kortheuer, H.O.C., 299.
+
+Kotzschmar, 150.
+
+Krehbiel, H.E., 273, 361.
+
+Kroeger, E.R., 420, 422.
+
+Kruger, 59.
+
+Kullak, 342, 387.
+
+
+Lachaume, Amié, 444.
+
+Lachmund, C.V., 349.
+
+Lang, B.J., 95, 212, 226, 375, 432.
+
+Lang, M.R., 424, 432, 438.
+
+Lanier, S., 169, 171, 173.
+
+Lassen, Edward, 132, 190.
+
+Lassus, 15.
+
+Lawes, Harry, 153, 248, 328.
+
+Leading Motives, 80.
+
+Ledochowski, 59.
+
+Lewing, Adele, 445.
+
+Liebling, Emil, 445.
+
+Liszt, 37, 59, 97, 190, 196, 237, 341, 387.
+
+Lodge, XIII.
+
+Loeffler, C.M., 444.
+
+Longfellow, 81, 223, 224.
+
+Loomis, C.B., 84.
+
+Loomis, H.W., 27, 77, 91.
+
+Loretz, J.M., 344.
+
+Löschorn, 411.
+
+Lowell, 201.
+
+Lulli, 16.
+
+Lyly, XIII.
+
+
+MacDowell, E.A., 18, 23, 34, 57.
+
+Macmonnies, 242.
+
+Mandyczewski, 244.
+
+Manney, C.F., 348.
+
+Manuscript Societies, 20.
+
+March-tunes, 112.
+
+Marlowe, XII.
+
+Marmontel, 37.
+
+Marston, G.W., 358, 364, 368.
+
+Marteau, Henri, 134.
+
+Martin, E.S., 30.
+
+Marx, A.B., 389.
+
+Mason, Dr. Wm., 340, 341, 387.
+
+Mason, Lowell, 17, 157, 340.
+
+Maud, Constance, 441.
+
+McCagg Prize, 176.
+
+McCaull, 126.
+
+McLellan, C.M.S., 63.
+
+Mendelssohn, 59, 155, 157, 184.
+
+Mendelssohn Club, 209.
+
+Mendelssohn, Fanny, 425.
+
+Mendelssohn Glee Club, 199, 200, 325.
+
+Meyerbeer, 126.
+
+Miles, General, 116.
+
+Millard, H., 337.
+
+Miller, C.C., 392.
+
+Millet, 313.
+
+Mills, S.B., 321.
+
+Milton, 152, 328.
+
+Montaigne, 31.
+
+Monteverde, 16.
+
+Moody and Sankey, 157.
+
+Morgan, John P., 371.
+
+Morgan, Matt., 120.
+
+Moscheles, 167, 311, 347, 381.
+
+Mosenthal, J., 324.
+
+Moskowski, 396, 439.
+
+Mozart, 116, 306, 395.
+
+
+Namby-pamby, 25.
+
+National Airs, 259.
+
+Negro Music, 22, 23, 48, 122, 128, 131, 137.
+
+Neidlinger, W.H., 391, 394.
+
+Neitzel, 136.
+
+Nevin, Arthur, 342.
+
+Nevin, Ethelbert, 92, 111.
+
+Nevin, R.P., 94.
+
+New York Colony, 269, 282, 350.
+
+Nicodé, 129.
+
+Nobles, M., 120.
+
+Norris, Homer A., 29, 348, 357, 358, 388.
+
+Northeastern Säengerbund, 191.
+
+
+Offenbach, 120.
+
+Omar, 338.
+
+Orientalism, 45.
+
+Orth, John, 175, 445.
+
+Oxenford, John, 329.
+
+
+Page, N.C., 139, 143, 272.
+
+Paine, John Knowles, 18, 162, 226, 263, 370.
+
+Palestrina, 16, 284.
+
+Pantomime Music, 79, 110.
+
+Papperitz, 132, 249.
+
+Parker, H.W., 174, 188, 192, 371, 347.
+
+Parker, J.C.D., 373.
+
+Parker, Mrs. E.G., 183.
+
+Parrot, John, 60.
+
+Pasmore, H.B., 272.
+
+Pendleton, C, 345.
+
+Penfield, S.M., 347.
+
+Perabo, Ernst, 445.
+
+Peri, 15.
+
+Perosi, 284.
+
+Perugino, 12.
+
+Philadelphia, 197.
+
+Pierné, 134.
+
+Plaidy, 167, 257, 381.
+
+Poe, 14, 76.
+
+Porpora, 15.
+
+Pratt, S.G., 234, 240, 347.
+
+Proctor, A.A., 81.
+
+Program Music, 41, 44.
+
+Prout, E., 389.
+
+Pugno, 134.
+
+Purcell, 14, 248.
+
+Puritan Influence, 14, 15.
+
+
+Radeck, 361.
+
+Raff, 37, 41, 97, 147.
+
+Raif, O., 381, 396, 439.
+
+Ralegh, XIII.
+
+Rameau, 16.
+
+Rankin, McKee, 60.
+
+Raphael, 12.
+
+Reinecke, 132, 211, 271, 347.
+
+"René Victor," 439.
+
+Rheinberger, J., 211, 292, 355.
+
+Richter, E.F., 167, 249, 257, 342, 381, 387.
+
+Rietz, 167.
+
+Rivé-King, Julie, 441.
+
+Robyn, A.G., 419.
+
+Robyn, Wm., 419.
+
+Rogers, J.H., 411, 414.
+
+Rogers, Mrs. C.K., 445.
+
+Rohde, 311, 412.
+
+Rossini, 183.
+
+Rotoli, Augusto, 445.
+
+Rubinstein, 77, 129.
+
+Rückert, 193.
+
+Rummel, Franz, 371.
+
+Runciman, John F., 14.
+
+Russell, L.A., 144.
+
+Russian music, 57, 447.
+
+Rutenber, 324.
+
+
+Saar, L.V., 444.
+
+Saint-Saëns, 108.
+
+San Francisco, 59, 272, 371.
+
+Sappho, 424.
+
+Savard, 37.
+
+Sawyer, H.P., 441.
+
+Scarlattis, 15.
+
+Scharwenka, X., 396, 444.
+
+Schiller, 95.
+
+Schimon, 249.
+
+Schnecker, P.A., 445.
+
+Schoenefeld, 128, 135.
+
+Schubert, 103, 261, 350.
+
+Schumann, VII., 56, 88, 91, 98, 101, 104, 106, 163, 173, 177, 215, 397.
+
+Schuyler, Wm., 415, 419.
+
+Scotch influence, 38, 39, 61, 196.
+
+Scott, 12, 171.
+
+Seeboeck, W.C., 444.
+
+Seidl, A., 236, 245, 261, 279, 322, 349, 422.
+
+Seiffritz, 59, 343.
+
+Seiss, 350.
+
+Severn, E., 445.
+
+Shakespeare,. XII., 31, 57, 60, 87, 95, 150, 152, 173, 228, 239, 297.
+
+Sharp, Wm., 81.
+
+Shelley, 351.
+
+Shelley, H.R., 304, 308.
+
+Sherwood, Wm. H., 19, 60, 286, 311, 370, 383, 387.
+
+Shirley, XIII.
+
+Sidney, XIII., 228.
+
+Siloti, A., 192.
+
+Singer, Otto, 396, 444.
+
+Sitt, H., 192.
+
+Smith, G., 309, 319.
+
+Smith, Wilson G., 395, 406.
+
+Sommer, Charles, 414.
+
+Sonatas, 51, 56, 84.
+
+Sophokles, 154, 161.
+
+Sousa, John P., 112, 128.
+
+Spanish influence, 119.
+
+Spanuth, A., 444.
+
+Speidel, 59, 343.
+
+Spencer, Fanny M., 441.
+
+Spenser, XIII.
+
+Spohr, 257.
+
+Stair, Patty, 414, 441.
+
+Stedman, E.C., 171, 277, 373.
+
+Sternberg, Constantin von, 444.
+
+Stevenson, R.L., 12, 105.
+
+St. Louis Colony, 270, 415, 422.
+
+Stoeckel, G.J., 305.
+
+Strauss, J., 114.
+
+Strauss, R., 407.
+
+Strong, G.T., 445.
+
+Suckling, 228.
+
+Swinburne, 383.
+
+Symphonies, 64, 147, 218, 298.
+
+
+Taft, F., 347.
+
+Tartini, 15, 62.
+
+Taussig, 342, 381.
+
+Tennyson, 42, 55, 328.
+
+Theokritos, 384.
+
+Theorists, 28, 388.
+
+Thomas, Theodore, 18, 151, 153, 168, 169, 257, 261, 264, 349, 376, 380,
+432.
+
+Tschaïkowski, 232, 372, 391.
+
+Tufts, John W., 366.
+
+
+Upton, Geo. P., 152, 380.
+
+Urban, 135.
+
+
+Van der Stucken, Frank, 19, 188, 196, 292.
+
+Vergil, 229.
+
+Verlaine, 81.
+
+Vieh, G.C., 419.
+
+Vierling, 135.
+
+Vogrich, Max, 444.
+
+Von Böhme, 94.
+
+Von Bülow, H., 96.
+
+
+Wagner, 50, 56, 99, 111, 114, 125, 157, 162, 201, 207, 223, 237.
+
+Wagner, Frau Cosima, 97.
+
+Waller, Henry, 444.
+
+Warren, G.W., 324, 346.
+
+Warren, R.H., 345, 347.
+
+Warren, S.P., 311.
+
+Weatherby, F.E., 329.
+
+Weitzmann, 381, 387.
+
+Welsh Music, 447.
+
+Wheeler, A.C., 320.
+
+Whelpley, B.L., 375.
+
+Whiting, 283, 291.
+
+Whiting, G.E., 360.
+
+Whitman, Walt, 14, 418.
+
+Whittier, 153.
+
+Widor, 412.
+
+Wiegand, Emil, 270.
+
+Wieprecht, 151.
+
+Willaert, 15.
+
+Wither, XIII.
+
+Women as Composers, 423, 441.
+
+Wood, Mrs. M.K., 440.
+
+Woodberry, G.E., 161.
+
+Wotton, XIII.
+
+Wuellner, 136.
+
+
+Yale University, 175.
+
+Young, Mrs. E.M., 445.
+
+
+Zeck, F., Jr., 272.
+
+Zeno, 12.
+
+Zola, 418.
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Contemporary American Composers, by Rupert Hughes
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS ***
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Contemporary American Composers, by Rupert Hughes.
+    </title>
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+<pre>
+
+Project Gutenberg's Contemporary American Composers, by Rupert Hughes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Contemporary American Composers
+       Being a Study of the Music of This Country, Its Present
+              Conditions and Its Future, with Critical Estimates and
+              Biographies of the Principal Living Composers; and an
+              Abundance of Portraits, Fac-simile Musical Autographs, and
+              Compositions
+
+Author: Rupert Hughes
+
+Release Date: December 10, 2007 [EBook #23800]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS ***
+
+
+
+
+Produced by David Newman, Jeffrey Johnson, Suzanne Lybarger,
+Linda Cantoni, and the Online Distributed Proofreading
+Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<div class="notes">
+<p class="center"><i><b>Transcriber's Notes</b></i></p>
+
+<p>Printer errors have been corrected.</p>
+
+<p>Full-page illustrations have been moved so as not to interrupt the
+flow of the text; some page numbers are skipped as a result.</p>
+
+<p>Midi files have been provided for all music illustrations except
+autographs and the handwritten manuscript score of <a href="#SALAMMBO">Salammb&ocirc;</a>. Click on the [Listen] link to hear the music. Lyrics within
+the music illustrations have been transcribed and placed below the
+notation image.</p>
+</div>
+
+<p><br /></p>
+
+
+<div class="bbox">
+<h1>Contemporary<br />
+American Composers</h1>
+
+<p class="blockquot"><br /><b>BEING A STUDY OF THE MUSIC OF THIS
+COUNTRY, ITS PRESENT CONDITIONS AND ITS
+FUTURE, WITH CRITICAL ESTIMATES AND
+BIOGRAPHIES OF THE PRINCIPAL LIVING
+COMPOSERS; AND AN ABUNDANCE OF PORTRAITS,
+FAC-SIMILE MUSICAL AUTOGRAPHS,
+AND COMPOSITIONS</b></p>
+
+<h2>By<br />
+Rupert Hughes, M.A.</h2>
+
+<p class="center"><b><a href="#CONTENTS">Contents</a><br />
+<a href="#LIST_OF_MUSIC">List of Music</a><br />
+<a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a></b></p>
+
+<hr class="title" />
+
+<h3><i>ILLUSTRATED</i></h3>
+
+<hr class="title" />
+
+<p class="center">
+<img src="images/logo.png" width="131" height="157" alt="logo" />
+</p>
+
+<hr class="title" />
+
+
+<p class="center"><b>Boston<br />
+L.C. Page and Company<br />
+<span class="small">(Incorporated)</span><br />
+1900</b></p>
+
+<hr class="short" />
+
+<p class="small" style="text-align: center"><i>Copyright, 1900</i><br />
+<span class="smcap">By L.C. Page &amp; Company</span><br />
+(INCORPORATED)<br />
+<br />
+<i>All rights reserved</i><br />
+<br />
+Colonial Press<br />
+Electrotyped and Printed by C.H. Simonds &amp; Co.<br />
+Boston, U.S.A.<br /><br /></p>
+</div>
+
+<p><br /></p>
+
+<p class="border" style="text-align: center">
+<a name="MacDowellFrontis" id="MacDowellFrontis"></a>
+<img src="images/macdowell.png" width="304" height="400" alt="frontispiece" />
+</p>
+
+<p class="caption"><i>Edward MacDowell.</i></p>
+
+<hr />
+
+
+<h4>TO</h4>
+
+<h2><i>James Huneker</i></h2>
+
+<h3>MUSICIAN TO THE TIP OF HIS PEN</h3>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">vii</a></span></p>
+<h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD.</h2>
+
+
+<p><br /><span class="smcap">One</span> day there came into Robert Schumann's ken the work of a young fellow
+named Brahms, and the master cried aloud in the wilderness, "Behold, the
+new Messiah of music!" Many have refused to accept Brahms at this
+rating, and I confess to being one of the unregenerate, but the spirit
+that kept Schumann's heart open to the appeal of any stranger, that led
+him into instant enthusiasms of which he was neither afraid nor ashamed,
+enthusiasms in which the whole world has generally followed his
+leading&mdash;that spirit it is that proves his true musicianship, and makes
+him a place forever among the great critics of music,&mdash;a small, small
+crowd they are, too.</p>
+
+<p>It is inevitable that a pioneer like Schu<span class="pagenum"><a name="Page_viii" id="Page_viii">viii</a></span>mann should make many
+mistakes, but he escaped the one great fatal mistake of those who are
+not open to conviction, nor alert for new beauty and fresh truth, who
+are willing to take art to their affections or respect only when it has
+lost its bloom and has been duly appraised and ticketed by other
+generations or foreign scholars. And yet, even worse than this
+languorous inanition is the active policy of those who despise
+everything contemporary or native, and substitute sciolism for
+catholicity, contempt for analysis.</p>
+
+<p>While the greater part of the world has stayed aloof, the problem of a
+national American music has been solving itself. Aside from occasional
+attentions evoked by chance performances, it may be said in general that
+the growth of our music has been unloved and unheeded by anybody except
+a few plodding composers, their wives, and a retainer or two. The only
+thing that inclines me to invade the privacy of the American com<span class="pagenum"><a name="Page_ix" id="Page_ix">ix</a></span>poser
+and publish his secrets, is my hearty belief, lo, these many years! that
+some of the best music in the world is being written here at home, and
+that it only needs the light to win its meed of praise.</p>
+
+<p>Owing to the scarcity of printed matter relating to native composers,
+and the utter incompleteness and bias of what exists, I have based this
+book almost altogether on my own research. I studied the catalogues of
+all the respectable music publishers, and selected such composers as
+seemed to have any serious intentions. When I heard of a composer whose
+work, though earnest, had not been able to find a publisher, I sought
+him out and read his manuscripts (a hideous task which might be
+substituted for the comparative pastime of breaking rocks, as punishment
+for misdemeanors). In every case I secured as many of each composer's
+works as could be had in print or in manuscript, and endeavored to
+digest them. Thousands of <span class="pagenum"><a name="Page_x" id="Page_x">x</a></span>pieces of music, from short songs to operatic
+and orchestral scores, I studied with all available conscience. The fact
+that after going through at least a ton of American compositions, I am
+still an enthusiast, is surely a proof of some virtue in native music.</p>
+
+<p>A portion of the result of this study was published <i>au courant</i> in a
+magazine, awakening so much attention that I have at length decided to
+yield to constant requests and publish the articles in more accessible
+form. The necessity for revising many of the opinions formed hastily and
+published immediately, the possibility now of taking the work of our
+musicians in some perspective, and the opportunity of bringing my
+information up to date, have meant so much revision, excision, and
+addition, that this book is really a new work.</p>
+
+<p>The biographical data have been furnished in practically every case by
+the composers themselves, and are, therefore, reliable in<span class="pagenum"><a name="Page_xi" id="Page_xi">xi</a></span> everything
+except possibly the date of birth. The critical opinions gain their
+possibly dogmatic tone rather from a desire for brevity than from any
+hope&mdash;or wish&mdash;that they should be swallowed whole. No attempt to set up
+a standard of comparative merit or precedence has been made, though it
+is inevitable that certain music-makers should interest one more than
+certain others even more worthy in the eyes of eminent judges.</p>
+
+<p>It may be that some inspectors of this book will complain of the
+omission of names they had expected to find here. Others will feel a
+sense of disproportion. To them there is no reply but a pathetic
+allusion to the inevitable incompleteness and asymmetry of all things
+human.</p>
+
+<p>Many will look with skepticism at the large number of composers I have
+thought worthy of inclusion. I can only say that the fact that an artist
+has created one work of high merit makes him a good composer in my
+opinion, <span class="pagenum"><a name="Page_xii" id="Page_xii">xii</a></span>whether or no he has ever written another, and whether or no
+he has afterward fallen into the sere and yellow school of trash. So
+Gray's fame is perennial,&mdash;one poem among many banalities.</p>
+
+<p>Besides, I do not concur in that most commonplace fallacy of criticism,
+the belief that not more than one genius is vouchsafed to any one period
+of an art, though this opinion can be justified, of course, by a very
+exclusive definition of the word genius. To the average mind, for
+instance, the whole literary achievement of the Elizabethan era is
+condensed into the name of Shakespeare. Contemporary with him, however,
+there were, of course, thirty or forty writers whose best works the
+scholar would be most unwilling to let die. There were, for instance, a
+dozen playwrights, like Jonson, Fletcher, Ford, Marlowe, and Greene, in
+whose works can be found literary and dramatic touches of the very
+highest order. There were poets less prolific than <span class="pagenum"><a name="Page_xiii" id="Page_xiii">xiii</a></span>Spenser, and yet to
+be credited with a few works of the utmost beauty, minor geniuses like
+Ralegh, Sidney, Lodge, Shirley, Lyly, Wotton, Wither, John Donne, Bishop
+Hall, Drayton, Drummond, Herbert, Carew, Herrick, Breton, Allison, Byrd,
+Dowland, Campion&mdash;so one might run on without naming one man who had not
+written something the world was better for.</p>
+
+<p>All periods of great art activity are similarly marked by a large number
+of geniuses whose ability is not disproved, because overshadowed by the
+presence of some titanic contemporary. It would be a mere impertinence
+to state such an axiom of art as this, were it not the plain truth that
+almost all criticism of contemporaries is based upon an arrant neglect
+of it; and if it were not for the fact that I am about to string out a
+long, long list of American music-makers whose ability I think
+noteworthy,&mdash;a list whose length may lead many a wiseacre to pull a
+longer face.</p>
+
+<p><span class="pagenum"><a name="Page_xiv" id="Page_xiv">xiv</a></span>Parts of this book have been reprinted from <i>Godey's Magazine</i>, the
+<i>Century Magazine</i>, and the <i>Criterion</i>, to whose publishers I am
+indebted for permission. For the music reproduced here I have to thank
+the publishers whose copyrights were loaned for the occasion.</p>
+
+<p>If the book shall only succeed in arousing in some minds an interest or
+a curiosity that shall set them to the study of American music (as I
+have studied it, with infinite pleasure), then this fine white paper and
+this beautiful black ink will not have been wasted.</p>
+
+
+
+<hr />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<table style="width: 50%" border="0" cellpadding="4" cellspacing="0" summary="contents">
+<tr><td>&#160;</td><td class="right"><span class="small">PAGE</span></td></tr>
+<tr><td><span class="smcap"><a href="#FOREWORD">Foreword</a></span></td><td class="right"><a href="#Page_vii">vii</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_I">A General Survey</a></span></td><td class="right"><a href="#Page_11">11</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_II">The Innovators</a></span></td><td class="right"><a href="#Page_34">34</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_III">The Academics</a></span></td><td class="right"><a href="#Page_145">145</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_IV">The Colonists</a></span></td><td class="right"><a href="#Page_267">267</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_V">The Women Composers</a></span></td><td class="right"><a href="#Page_423">423</a></td></tr>
+<tr><td><span class="smcap"><a href="#CHAPTER_VI">The Foreign Composers</a></span></td><td class="right"><a href="#Page_442">442</a></td></tr>
+<tr><td><span class="smcap"><a href="#POSTLUDE">Postlude</a></span></td><td class="right"><a href="#Page_447">447</a></td></tr>
+<tr><td><span class="smcap"><a href="#INDEX">Index</a></span></td><td class="right"><a href="#Page_449">449</a></td></tr></table>
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_5" id="Page_5">5</a></span></p>
+<h2><a name="LIST_OF_MUSIC" id="LIST_OF_MUSIC"></a>LIST OF MUSIC.</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="list of music">
+<tr><td></td><td class="right"><span class="small">PAGE</span></td></tr>
+<tr><td><span class="smcap">Autograph of Edward MacDowell</span></td><td class="right"><a href="#Page_34">34</a></td></tr>
+<tr><td><span class="smcap">"Clair de Lune," by Edward MacDowell</span></td><td class="right"><a href="#CLAIR_DE_LUNE">46</a></td></tr>
+<tr><td><span class="smcap">Autograph of Edgar Stillman Kelley</span></td><td class="right"><a href="#Page_58">58</a></td></tr>
+<tr><td><span class="smcap">"Israfel</span>" (fragment), <span class="smcap">by Edgar Stillman Kelley</span></td><td class="right"><a href="#ISRAFEL">74</a></td></tr>
+<tr><td><span class="smcap">Autograph of Harvey Worthington Loomis</span></td><td class="right"><a href="#Page_77">77</a></td></tr>
+<tr><td><span class="smcap">"Sandalphon</span>" (fragment), <span class="smcap">by H.W. Loomis</span></td><td class="right"><a href="#SANDALPHON">82</a></td></tr>
+<tr><td><span class="smcap">Autograph of Ethelbert Nevin</span></td><td class="right"><a href="#Page_93">93</a></td></tr>
+<tr><td><span class="smcap">"Herbstgef&uuml;hl</span>" (fragment), <span class="smcap">by Ethelbert Nevin</span></td><td class="right"><a href="#HERBSTGEFUHL">102</a></td></tr>
+<tr><td><span class="smcap">Autograph of John Philip Sousa</span></td><td class="right"><a href="#Page_112">112</a></td></tr>
+<tr><td><span class="smcap">A Page from "El Capitan," by John Philip Sousa</span></td><td class="right"><a href="#EL_CAPITAN">127</a></td></tr>
+<tr><td><span class="smcap">Autograph of John K. Paine</span></td><td class="right"><a href="#PAINE_autograph">145</a></td></tr>
+<tr><td><span class="smcap">Postlude to "&OElig;dipus Tyrannus," by John K. Paine</span></td><td class="right"><a href="#OEDIPUS">158</a></td></tr>
+<tr><td><span class="smcap">"Spring's Awakening</span>" (fragment), <span class="smcap">by Dudley Buck</span></td><td class="right"><a href="#SPRINGS">172</a><span class="pagenum"><a name="Page_6" id="Page_6">6</a></span></td></tr>
+<tr><td><span class="smcap">Autograph of Horatio W. Parker</span></td><td class="right"><a href="#Page_174">174</a></td></tr>
+<tr><td><span class="smcap">"Night-piece to Julia</span>" (fragment), <span class="smcap">by Horatio W. Parker</span></td><td class="right"><a href="#JULIA">180</a></td></tr>
+<tr><td><span class="smcap">"Die Stunde Sei Gesegnet</span>" (fragment), by <span class="smcap">Frank van der Stucken</span></td><td class="right"><a href="#STUNDE">194</a></td></tr>
+<tr><td><span class="smcap">"A Love Song</span>" (fragment), by <span class="smcap">W.W. Gilchrist</span></td><td class="right"><a href="#LOVESONG">205</a></td></tr>
+<tr><td><span class="smcap">Autograph of G.W. Chadwick</span></td><td class="right"><a href="#Page_210">210</a></td></tr>
+<tr><td><span class="smcap">"Folk Song" (No. 1), by G.W. Chadwick</span></td><td class="right"><a href="#FOLKSONG">216</a></td></tr>
+<tr><td><span class="smcap">Autograph of Arthur Foote</span></td><td class="right"><a href="#Foote_autograph">221</a></td></tr>
+<tr><td><span class="smcap">"It Was a Lover and His Lass," by Arthur Foote</span></td><td class="right"><a href="#LOVER">230</a></td></tr>
+<tr><td><span class="smcap">"Idylle</span>" (fragment), <span class="smcap">by Arthur Whiting</span></td><td class="right"><a href="#IDYLLE">287</a></td></tr>
+<tr><td><span class="smcap">"Ballade</span>" (fragment), <span class="smcap">by Howard Brockway</span></td><td class="right"><a href="#BALLADE">303</a></td></tr>
+<tr><td><span class="smcap">Autograph of Harry Rowe Shelley</span></td><td class="right"><a href="#Page_304">304</a></td></tr>
+<tr><td><span class="smcap">"Spring</span>" (fragment), <span class="smcap">by Gerrit Smith</span></td><td class="right"><a href="#SPRING">314</a></td></tr>
+<tr><td><span class="smcap">"When Love Is Gone," by C.B. Hawley</span></td><td class="right"><a href="#WHEN_LOVE">330</a></td></tr>
+<tr><td><span class="smcap">"Song from Omar Khayy&aacute;m," by Victor Harris</span></td><td class="right"><a href="#OMAR">339</a></td></tr>
+<tr><td><span class="smcap">"Hymn of Pan</span>" (fragment), <span class="smcap">Fred Field Bullard</span></td><td class="right"><a href="#PAN">352</a></td></tr>
+<tr><td><span class="smcap">"Peace," by Homer A. Norris</span></td><td class="right"><a href="#PEACE">362</a></td></tr>
+<tr><td><span class="smcap">Autograph of G.W. Marston</span></td><td class="right"><a href="#Page_367">367</a></td></tr>
+<tr><td><span class="smcap">Excerpt from an Orchestral Score, by F.G. Gleason</span></td><td class="right"><a href="#MONTEZUMA">378</a></td></tr>
+<tr><td><span class="smcap">"Idylle</span>" (fragment), <span class="smcap">by William H. Sherwood</span></td><td class="right"><a href="#IDYLLE_SHERWOOD">385</a></td></tr>
+<tr><td><span class="smcap">Autograph of Wilson G. Smith</span></td><td class="right"><a href="#Page_395">395</a><span class="pagenum"><a name="Page_7" id="Page_7">7</a></span></td></tr>
+<tr><td><span class="smcap">"Arabesque," by Wilson G. Smith</span></td><td class="right"><a href="#ARABESQUE">404</a></td></tr>
+<tr><td><span class="smcap">Fragment of the Score of "Salammb&ocirc;," by Johann H. Beck</span></td><td class="right"><a href="#SALAMMBO">408</a></td></tr>
+<tr><td><span class="smcap">Autograph of James H. Rogers</span></td><td class="right"><a href="#Page_412">412</a></td></tr>
+<tr><td><span class="smcap">"Black Riders</span>" (fragment), <span class="smcap">by William Schuyler</span></td><td class="right"><a href="#BLACK_RIDERS">416</a></td></tr>
+<tr><td><span class="smcap">"Phantoms</span>" (fragment), <span class="smcap">by Mrs. H.H.A. Beach</span></td><td class="right"><a href="#PHANTOMS">429</a></td></tr>
+<tr><td><span class="smcap">"Ghosts," by Margaret Ruthven Lang</span></td><td class="right"><a href="#GHOSTS">436</a></td></tr>
+</table>
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_9" id="Page_9">9</a></span></p>
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2>
+
+
+<table style="width: 50%" border="0" cellpadding="4" cellspacing="0" summary="list of illustrations">
+<tr><td>&#160;</td><td class="right"><span class="small">PAGE</span></td></tr>
+<tr><td><span class="smcap">Edward MacDowell</span></td><td class="right"><i><a href="#MacDowellFrontis">Frontispiece</a></i></td></tr>
+<tr><td><span class="smcap">Edgar Stillman Kelley</span></td><td class="right"><a href="#EDGAR_STILLMAN_KELLEY">57</a></td></tr>
+<tr><td><span class="smcap">Harvey Worthington Loomis</span></td><td class="right"><a href="#LOOMIS">77</a></td></tr>
+<tr><td><span class="smcap">Ethelbert Nevin</span></td><td class="right"><a href="#NEVIN">92</a></td></tr>
+<tr><td><span class="smcap">John Philip Sousa</span></td><td class="right"><a href="#SOUSA">112</a></td></tr>
+<tr><td><span class="smcap">Henry Schoenefeld</span></td><td class="right"><a href="#HENRY_SCHOENEFELD">128</a></td></tr>
+<tr><td><span class="smcap">John Knowles Paine</span></td><td class="right"><a href="#JOHN_KNOWLES_PAINE">145</a></td></tr>
+<tr><td><span class="smcap">Horatio W. Parker</span></td><td class="right"><a href="#HORATIO_W_PARKER">174</a></td></tr>
+<tr><td><span class="smcap">Frank van der Stucken</span></td><td class="right"><a href="#FRANK_VAN_DER_STUCKEN">188</a></td></tr>
+<tr><td><span class="smcap">George Whitefield Chadwick</span></td><td class="right"><a href="#GEORGE_WHITFIELD_CHADWICK">210</a></td></tr>
+<tr><td><span class="smcap">Arthur Foote</span></td><td class="right"><a href="#ARTHUR_FOOTE">221</a></td></tr>
+<tr><td><span class="smcap">Henry K. Hadley</span></td><td class="right"><a href="#HENRY_K_HADLEY">241</a></td></tr>
+<tr><td><span class="smcap">Adolph M. Foerster</span></td><td class="right"><a href="#ADOLPH_M_FOERSTER">248</a></td></tr>
+<tr><td><span class="smcap">Charles Crozat Converse</span></td><td class="right"><a href="#CHARLES_CROZAT_CONVERSE">256</a></td></tr>
+<tr><td><span class="smcap">Louis Adolphe Coerne</span></td><td class="right"><a href="#LOUIS_ADOLPHE_COERNE">262</a></td></tr>
+<tr><td><span class="smcap">Henry Holden Huss</span></td><td class="right"><a href="#HENRY_HOLDEN_HUSS">291</a></td></tr>
+<tr><td><span class="smcap">Harry Rowe Shelley</span></td><td class="right"><a href="#HARRY_ROWE_SHELLEY">304</a></td></tr>
+<tr><td><span class="smcap">Frederick Field Bullard</span></td><td class="right"><a href="#FREDERICK_FIELD_BULLARD">351</a></td></tr>
+<tr><td><span class="smcap">Homer A. Norris</span></td><td class="right"><a href="#HOMER_A_NORRIS">357</a></td></tr>
+<tr><td><span class="smcap">Frederic Grant Gleason</span></td><td class="right"><a href="#FREDERIC_GRANT_GLEASON">367</a></td></tr>
+<tr><td><span class="smcap">William H. Sherwood</span></td><td class="right"><a href="#WILLIAM_H_SHERWOOD">383</a></td></tr>
+<tr><td><span class="smcap">A.J. Goodrich</span></td><td class="right"><a href="#A_J_GOODRICH">388</a></td></tr>
+<tr><td><span class="smcap">Wilson G. Smith</span></td><td class="right"><a href="#WILSON_G_SMITH">395</a></td></tr>
+<tr><td><span class="smcap">Mrs. H.H.A. Beach</span></td><td class="right"><a href="#MRS_H_H_A_BEACH">426</a></td></tr>
+<tr><td><span class="smcap">Margaret Ruthven Lang</span></td><td class="right"><a href="#MARGARET_RUTHVEN_LANG">432</a></td></tr>
+</table>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_11" id="Page_11">11</a></span></p>
+
+<h1>CONTEMPORARY AMERICAN<br />
+COMPOSERS.</h1>
+
+
+
+<hr />
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+<h3>A GENERAL SURVEY.</h3>
+
+
+<p><br /><span class="smcap">Coddling</span> is no longer the chief need of
+the American composer. While he still
+wants encouragement in his good tendencies,&mdash;much
+more encouragement than he gets,
+too,&mdash;he is now strong enough to profit by
+the discouragement of his evil tendencies.</p>
+
+<p>In other words, the American composer is ready for criticism.</p>
+
+<p>The first and most vital flaw of which his work will be accused is the
+lack of national<span class="pagenum"><a name="Page_12" id="Page_12">12</a></span>ism. This I should like to combat after the sophistic
+fashion of Zeno,&mdash;showing, first, why we lack that desideratum, a
+strictly national school; secondly, that a strictly national school is
+not desirable; and thirdly, that we most assuredly have a national
+school.</p>
+
+<p>In building a national individuality, as in building a personal
+individuality, there is always a period of discipleship under some older
+power. When the rudiments and the essentials are once thoroughly
+mastered, the shackles of discipleship are thrown off, and personal
+expression in an original way begins. This is the story of every master
+in every art: The younger Raphael was only Perugino junior. Beethoven's
+first sonatas were more completely Haydn's than the word "gewidmet"
+would declare. The youthful Canova was swept off his feet by the
+unearthing of old Greek masterpieces. Stevenson confesses frankly his
+early efforts to copy the mannerisms of Scott and others.
+Na<span class="pagenum"><a name="Page_13" id="Page_13">13</a></span>tions are only clusters of individuals, and
+subject to the same rules. Italy borrowed its beginnings from Byzantium;
+Germany and France took theirs from Italy; we, ours, from them.</p>
+
+<p>It was inconceivable that America should produce an autocthonous art.
+The race is one great mixture of more or less digested foreign elements;
+and it is not possible to draw a declaration of artistic, as of
+political, independence, and thenceforward be truly free.</p>
+
+<p>Centuries of differentiated environment (in all the senses of the word
+environment) are needed to produce a new language or a new art; and it
+was inevitable that American music should for long be only a more or
+less successful employment of European methods. And there was little
+possibility, according to all precedents in art history, that any
+striking individuality should rise suddenly to found a school based upon
+his own mannerism. <span class="pagenum"><a name="Page_14" id="Page_14">14</a></span></p>
+
+<p>Especially was this improbable, since we are in a large sense of English
+lineage. As the co-heirs, with those who remain in the British Isles, of
+the magnificent prose and poetry of England, it was possible for us to
+produce early in our own history a Hawthorne and a Poe and an Emerson
+and a Whitman. But we have had more hindrance than help from our
+heritage of English music, in which there has never been a master of the
+first rank, Purcell and the rest being, after all, brilliants of the
+lesser magnitude (with the permission of that electric Englishman, Mr.
+John F. Runciman).</p>
+
+<p>A further hindrance was the creed of the Puritan fathers of our
+civilization; they had a granite heart, and a suspicious eye for music.
+Here is a cheerful example of congregational lyricism, and a lofty
+inspiration for musical treatment (the hymn refers to the fate of
+unbaptized infants): <span class="pagenum"><a name="Page_15" id="Page_15">15</a></span></p>
+
+<p class="cpoems">
+"A crime it is! Therefore in Bliss<br />
+<span style="margin-left: 1em">You may not hope to dwell;</span><br />
+But unto you I shall allow<br />
+<span style="margin-left: 1em">The easiest room in Hell."</span><br />
+</p>
+
+<p>It was only at the end of the seventeenth century that singing by note
+began to supplant the "lining-out" barbarism, and to provoke such fierce
+opposition as this:</p>
+
+<div class="blockquot"><p>"First, it is a new way&mdash;an unknown tongue;
+2d, it is not so melodious as the old way; 3d, there
+are so many tunes that nobody can learn them;
+4th, the new way makes a disturbance in churches,
+grieves good men, exasperates them, and causes them
+to behave disorderly; 5th, it is popish; 6th, it will
+introduce instruments; 7th, the names of the notes
+are blasphemous; 8th, it is needless, the old way
+being good enough; 9th, it requires too much time
+to learn it; 10th, it makes the young disorderly."</p></div>
+
+<p>At the time when such puerility was disturbing this cradle of freedom
+and cacophony, Bach and H&auml;ndel were at work in their contrapuntal
+webs, the Scarlattis, Corelli and Tartini and Porpora were alive. Peri,
+Josquin and Willaert and Lassus were dead, <span class="pagenum"><a name="Page_16" id="Page_16">16</a></span> and the church had had its
+last mass from the most famous citizen of the town of Palestrina.
+Monteverde was no longer inventing like an Edison; Lulli had gone to
+France and died; and Rameau and Couperin were alive.</p>
+
+<p>At this time in the world's art, the Americans were squabbling over the
+blasphemy of instruments and of notation! This is not the place to treat
+the history of our music. The curious can find enlightenment at such
+sources as Mr. Louis C. Elson's "National Music of America." It must be
+enough for me to say that the throttling hands of Puritanism are only
+now fully loosened. Some of our living composers recall the parental
+opposition that met their first inclinations to a musical career,
+opposition based upon the disgracefulness, the heathenishness, of music
+as a profession.</p>
+
+<p>The youthfulness of our school of music can be emphasized further by a
+simple state<span class="pagenum"><a name="Page_17" id="Page_17">17</a></span>ment that, with the exception of a few names like Lowell
+Mason, Louis Moreau Gottschalk, Stephen A. Emery (a graceful writer as
+well as a theorist), and George F. Bristow, practically every American
+composer of even the faintest importance is now living.</p>
+
+<p>The influences that finally made American music are chiefly German.
+Almost all of our composers have studied in Germany, or from teachers
+trained there; very few of them turning aside to Paris, and almost none
+to Italy. The prominent teachers, too, that have come from abroad have
+been trained in the German school, whatever their nationality. The
+growth of a national school has been necessarily slow, therefore, for
+its necessary and complete submission to German influences.</p>
+
+<p>It has been further delayed by the meagre native encouragement to effort
+of the better sort. The populace has been largely indifferent,&mdash;the
+inertia of all large bodies would explain that. A national, a
+constructive, and <span class="pagenum"><a name="Page_18" id="Page_18">18</a></span>collaborative criticism has been conspicuously
+absent.</p>
+
+<p>The leaders of orchestras have also offered an almost insurmountable
+obstacle to the production of any work from an American hand until very
+recently. The Boston Symphony Orchestra has been a noble exception to
+this rule, and has given about the only opening possible to the native
+writer. The Chicago Orchestra, in eight seasons under Theodore Thomas,
+devoted, out of a total of 925 numbers, only eighteen, or something less
+than two per cent., to native music. Yet time shows a gradual
+improvement, and in 1899, out of twenty-seven orchestral numbers
+performed, three were by Americans, which makes a liberal tithe. The
+Boston Symphony has played the compositions of John Knowles Paine alone
+more than eighteen times, and those of George W. Chadwick the same
+number, while E.A. MacDowell and Arthur Foote each appeared on the
+programs four<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span>teen times. The Kaltenborn Orchestra has made an active
+effort at the promulgation of our music, and especial honor is due to
+Frank Van der Stucken, himself a composer of marked abilities; he was
+among the first to give orchestral production to American works, and he
+was, perhaps, the very first to introduce American orchestral work
+abroad. Like his offices, in spirit and effect, have been the invaluable
+services of our most eminent pianist, Wm. H. Sherwood, who was for many
+years the only prominent performer of American piano compositions.</p>
+
+<p>Public singers also have been most unpatriotic in preferring endless
+repetition of dry foreign arias to fresh compositions from home. The
+little encore song, which generally appeared anonymously, was the
+opening wedge for the American lyrist.</p>
+
+<p>Upon the horizon of this gloom, however, there is a tremor of a dawning
+interest in national music. Large vocal societies are <span class="pagenum"><a name="Page_20" id="Page_20">20</a></span>giving an
+increasing number of native part songs and cantatas; prizes are being
+awarded in various places, and composers find some financial
+encouragement for appearing in concerts of their own work. Manuscript
+societies are organized in many of the larger cities, and these clubs
+offer hearing to novelty. There have latterly appeared, from various
+publishers, special catalogues vaunting the large number of American
+composers represented on their lists.</p>
+
+<p>Another, and a most important sign of the growing influence of music
+upon American life, is seen in the place it is gaining in the college
+curriculum; new chairs have been established, and prominent composers
+called to fill them, or old professorships that held merely nominal
+places in the catalogue have been enlarged in scope. In this way music
+is re&euml;stablishing itself in something like its ancient glory; for
+the Greeks not only grouped all culture under the general term
+ <span class="pagenum"><a name="Page_21" id="Page_21">21</a></span>of "Music," but gave voice and instrument a
+vital place in education. Three of our most prominent composers fill the
+chairs at three of the most important universities. In all these cases,
+however, music is an elective study, while the rudiments of the art
+should, I am convinced, be a required study in every college curriculum,
+and in the common schools as well.</p>
+
+<p>Assuming then, for the nonce, the birth&mdash;we are too new a country
+to speak of a Renascence&mdash;of a large interest in national music,
+there is large disappointment in many quarters, because our American
+music is not more American. I have argued above that a race transplanted
+from other soils must still retain most of the old modes of expression,
+or, varying them, change slowly. But many who excuse us for the present
+lack of a natural nationalism, are so eager for such a differentiation
+that they would have us borrow what we cannot breed. <span class="pagenum"><a name="Page_22" id="Page_22">22</a></span></p>
+
+<p>The folk-music of the negro slaves is most frequently mentioned as the
+right foundation for a strictly American school. A somewhat
+misunderstood statement advanced by Dr. Antonin Dv&ocirc;r&aacute;k,
+brought this idea into general prominence, though it had been discussed
+by American composers, and made use of in compositions of all grades
+long before he came here.</p>
+
+<p>The vital objection, however, to the general adoption of negro music as
+a base for an American school of composition is that it is in no sense a
+national expression. It is not even a sectional expression, for the
+white Southerners among whose slaves this music grew, as well as the
+people of the North, have always looked upon negro music as an exotic
+and curious thing. Familiar as it is to us, it is yet as foreign a music
+as any Tyrolean jodel or Hungarian czardas.</p>
+
+<p>The music of the American Indian, often strangely beautiful and
+impressive, would be<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span> as reasonably chosen as that of these imported
+Africs. E.A. MacDowell had, indeed, written a picturesque and
+impressive Indian suite, some time before the Dv&ocirc;r&aacute;kian
+invasion. He asserts that the Indian music is preferable to the
+Ethiopian, because its sturdiness and force are more congenial with the
+national mood.</p>
+
+<p>But the true hope for a national spirit in American music surely lies,
+not in the arbitrary seizure of some musical dialect, but in the
+development of just such a quality as gives us an individuality among
+the nations of the world in respect to our character as a people; and
+that is a Cosmopolitanism made up of elements from all the world, and
+yet, in its unified qualities, unlike any one element. Thus our music
+should, and undoubtedly will, be the gathering into the spirit of the
+voices of all the nations, and the use of all their expressions in an
+assimilated, a personal, a spontaneous manner. This need not, by any
+<span class="pagenum"><a name="Page_24" id="Page_24">24</a></span>means, be a dry, academic eclecticism. The
+Yankee, a composite of all peoples, yet differs from them all, and owns
+a sturdy individuality. His music must follow the same fate.</p>
+
+<p>As our governmental theories are the outgrowth of the experiments and
+experiences of all previous history, why should not our music, voicing
+as it must the passions of a cosmopolitan people, use cosmopolitan
+expressions? The main thing is the individuality of each artist. To be a
+citizen of the world, provided one is yet spontaneous and sincere and
+original, is the best thing. The whole is greater than any of its parts.</p>
+
+<p>Along just these lines of individualized cosmopolitanism the American
+school is working out its identity. Some of our composers have shown
+themselves the heirs of European lore by work of true excellence in the
+larger classic and romantic forms.</p>
+
+<p>The complaint might be made, indeed, that the empty, incorrect period of
+previous Ameri<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span>can music has given place to too much correctness and too
+close formation on the old models. This is undoubtedly the result of the
+long and faithful discipleship under German methods, and need not be
+made much of in view of the tendency among a few masters toward original
+expression. For, after all, even in the heyday of the greatest art
+periods, only a handful of artists have ever stood out as strongly
+individual; the rest have done good work as faithful imitators and past
+masters in technic. It is, then, fortunate that there is any tendency at
+all among any of our composers to forsake academic content with
+classical forms and text-book development of ideas.</p>
+
+<p>Two things, however, are matters for very serious disappointment: the
+surprising paucity of musical composition displaying the national sense
+of humor, and the surprising abundance of purest namby-pamby. The
+presence of the latter class might be ex<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span>plained by the absence of the
+former, for namby-pamby cannot exist along with a healthy sense of the
+ludicrous. There has been a persistent craze among native song-writers
+for little flower-dramas and bird-tragedies, which, aiming at
+exquisiteness, fall far short of that dangerous goal and land in
+flagrant silliness. This weakness, however, will surely disappear in
+time, or at least diminish, until it holds no more prominent place than
+it does in all the foreign schools, where it exists to a certain extent.</p>
+
+<p>The scherzo, however, must grow in favor. It is impossible that the most
+jocose of races, a nation that has given the world an original school of
+humor, should not carry this spirit over into its music. And yet almost
+none of the comparatively few scherzos that have been written here have
+had any sense of the hilarious jollity that makes Beethoven's wit
+side-shaking. They have been rather of the Chopinesque sort, mere
+fantasy. To the<span class="pagenum"><a name="Page_27" id="Page_27">27</a></span> composers deserving this generalization I recall only
+two important exceptions, Edgar S. Kelley and Harvey Worthington Loomis.</p>
+
+<p>The opportunities before the American composer are enormous, and only
+half appreciated. Whereas, in other arts, the text-book claims only to be
+a chronicle of what has been done before, in music the text-book is set
+up as the very gospel and decalogue of the art. The theorists have so
+thoroughly mapped out the legitimate resources of the composer, and have
+so prescribed his course in nearly every possible position, that music
+is made almost more of a mathematical problem than the free expression
+of emotions and &aelig;sthetics. "Correct" music has now hardly more
+liberty than Egyptian sculpture or Byzantine painting once had. Certain
+dissonances are permitted, and certain others, no more dissonant,
+forbidden, quite arbitrarily, or on hair-splitting theories. It is as if
+one should write down in a book a number of<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span> charts, giving every scheme
+of color and every juxtaposition of values permissible to a painter. The
+music of certain Oriental nations, in which the religious orders are the
+art censors, has stuck fast in its rut because of the observance of
+rules purely arbitrary. Many of the conventions of modern European music
+are no more scientific or original or consistent; most of them are based
+upon the principle that the whim of a great dead composer is worthy to
+be the law of any living composer. These Blue Laws of music are
+constantly assailed surreptitiously and in detail; and yet they are too
+little attacked as a whole. But music should be a democracy and not an
+aristocracy, or, still less, a hierarchy.</p>
+
+<p>There is a great opportunity for America to carry its political
+principles into this youngest of the arts. It is a gratifying sign that
+one of the most prominent theorists of the time, an American scholar, A.
+J. Good<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span>rich, is adopting some such attitude toward music. He carries
+dogma to the minimum, and accepts success in the individual instance as
+sufficient authority for overstepping any general principle. He refers
+to a contemporary American composer for authority and example of some
+successful unconventionality with the same respect with which he would
+quote a European's disregard of convention. His pioneering is watched
+with interest abroad as well as here.</p>
+
+<p>Worthy of mention along with Mr. Goodrich' original work is the effort
+of Homer A. Norris to instil French ideas of musical theory. As a
+counterweight to the German monopoly of our attention, his influence is
+to be cordially welcomed.</p>
+
+<p>Now that Americanism is rife in the land, some of the glowing interest
+in things national might well be turned toward an art that has been too
+much and too long neglected among us.<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span></p>
+
+<p>The time has come to take American music seriously. The day for boasting
+is not yet here,&mdash;if indeed it ever comes; but the day of penitent
+humility is surely past.</p>
+
+<p>A student of the times, Mr. E.S. Martin, shortly before the Spanish
+War, commented on the radical change that had come over the spirit of
+American self-regard. We were notorious in the earlier half of the
+century for boasting, not only of the virtues we indubitably had, but of
+qualities that existed solely in our own imagination. We sounded our
+barbaric yawp over the roofs of the world. A century of almost unanimous
+European disapproval, particularly of our artistic estate, finally
+converted us from this attitude to one of deprecation almost abject.
+Having learned the habit of modesty, it has clung to us even now, when
+some of the foremost artists in the world are Americans.</p>
+
+<p>Modesty, is, of course, one of the most beautiful of the virtues, but
+excess is possible<span class="pagenum"><a name="Page_31" id="Page_31">31</a></span> and dangerous. As Shakespeare's Florio's Montaigne
+has it: "We may so seize on vertue, that if we embrace it with an
+over-greedy and violent desire, it may become vitious." In the case of
+the American composer it is certainly true that we "excessively demeane
+ourselves in a good action." If, then, the glory of our late successes
+in the field of battle shall bring about a recrudescence of our old
+vanity, it will at least have its compensations.</p>
+
+<p>Meanwhile, the American artist, having long ago ceased to credit himself
+with all the virtues, has been for years earnestly working out his own
+salvation in that spirit of solemn determination which makes it
+proverbial for the American to get anything he sets his heart on. He has
+submitted himself to a devout study of the Old Masters and the New; he
+has made pilgrimage after pilgrimage to the ancient temples of art, and
+has brought home influences that cannot but work for good.
+<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> The American painter has won more European
+acceptance than any of our other artists, though this is partly due to
+his persistence in knocking at the doors of the Paris salons, and
+gaining the universal prestige of admission there. There is,
+unfortunately, no such place to focus the attention of the world on a
+musician. Yet, through the success of American musical students among
+their rivals abroad; through the concerts they are giving more and more
+frequently in foreign countries; through the fact that a number of
+European music houses are publishing increasing quantities of American
+compositions, he is making his way to foreign esteem almost more rapidly
+than at home.</p>
+
+<p>A prominent German critic, indeed, has recently put himself on record as
+accepting the founding of an American school of music as a <i>fait
+accompli</i>. And no student of the times, who will take the trouble to
+seek the sources of our art, and observe its actual<span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> vitality, need be
+ashamed of looking at the present state of music in America with a
+substantial pride and a greater hope for the future.</p>
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_34" id="Page_34">34</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+<h3>THE INNOVATORS.</h3>
+
+<h3><br /><i>Edward Alexander MacDowell.</i></h3>
+
+<p class="center"><br />
+<img src="images/macdowellauto.png" width="600" height="320" alt="Autograph of Edward MacDowell" />
+</p>
+
+
+<p><br /><span class="smcap">The</span> matter of precedence in creative art is as hopeless of solution as
+it is unimportant. And yet it seems appropriate to say, in writing of E.
+A. MacDowell, that an almost unanimous vote would grant him rank as the
+greatest of American composers, while not<span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> a few ballots would indicate
+him as the best of living music writers.</p>
+
+<p>But this, to repeat, is not vital, the main thing being that MacDowell
+has a distinct and impressive individuality, and uses his profound
+scholarship in the pursuit of novelty that is not cheaply sensational,
+and is yet novelty. He has, for instance, theories as to the textures of
+sounds, and his chord-formations and progressions are quite his own.</p>
+
+<p>His compositions are superb processions, in which each participant is
+got up with the utmost personal splendor. His generalship is great
+enough to preserve the unity and the progress of the pageant. With him
+no note in the melody is allowed to go neglected, ill-mounted on common
+chords in the bass, or cheap-garbed in trite triads. Each tone is made
+to suggest something of its multitudinous possibilities. Through any
+geometrical point, an infinite number of lines can be drawn. This is
+almost the case with any<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> note of a melody. It is the recognition and
+the practice of this truth that gives the latter-day schools of music
+such a lusciousness and warmth of harmony. No one is a more earnest
+student of these effects than MacDowell.</p>
+
+<p>He believes that it is necessary, at this late day, if you would have a
+chord "bite," to put a trace of acid in its sweetness. With this clue in
+mind, his unusual procedures become more explicable without losing their
+charm.</p>
+
+<p>New York is rather the Mecca than the birthplace of artists, but it can
+boast the nativity of MacDowell, who improvised his first songs here
+December 18, 1861. He began the study of the piano at an early age. One
+of his teachers was Mme. Teresa Carre&ntilde;o, to whom he has dedicated
+his second concerto for the piano.</p>
+
+<p>In 1876 he went to Paris and entered the Conservatoire, where he studied
+theory under<span class="pagenum"><a name="Page_37" id="Page_37">37</a></span> Savard, and the piano under Marmontel. He went to
+Wiesbaden to study with Ehlert in 1879, and then to Frankfort, where
+Carl Heyman taught him piano and Joachim Raff composition. The influence
+of Raff is of the utmost importance in MacDowell's music, and I have
+been told that the great romancist made a <i>prot&eacute;g&eacute;</i> of
+him, and would lock him in a room for hours till he had worked out the
+most appalling musical problems. Through Raff's influence he became
+first piano teacher at the Darmstadt Conservatorium in 1881. The next
+year Raff introduced him to Liszt, who became so enthusiastic over his
+compositions that he got him the honor of playing his first piano suite
+before the formidable <i>Allgemeiner Deutscher Musik Verein</i>, which
+accorded him a warm reception. The following years were spent in
+successful concert work, till 1884, when MacDowell settled down to
+teaching and composing in Wiesbaden. Four years later he came to Boston,
+<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span> writing, teaching, and giving occasional concerts. Thence he returned
+to New York, where he was called to the professorship of music at
+Columbia University. Princeton University has given him that unmusical
+degree, Mus. Doc.</p>
+
+<p>MacDowell has met little or none of that critical recalcitrance that
+blocked the early success of so many masters. His works succeeded from
+the first in winning serious favor; they have been much played in
+Germany, in Vienna, St. Petersburg, Amsterdam, and Paris, one of them
+having been performed three times in a single season at Breslau.</p>
+
+<p>MacDowell's Scotch ancestry is always telling tales on him. The "Scotch
+snap" is a constant rhythmic device, the old scale and the old Scottish
+cadences seem to be native to his heart. Perhaps one might find some
+kinship between MacDowell and the contemporary Glasgow school of
+painters, that clique so isolated, so daring, and yet so ear<span class="pagenum"><a name="Page_39" id="Page_39">39</a></span>nest
+ and solid. Says James Huneker in a
+monograph published some years ago: "His coloring reminds me at times of
+Grieg, but when I tracked the resemblance to its lair, I found only
+Scotch, as Grieg's grand-folk were Greggs, and from Scotland. It is all
+Northern music with something elemental in it, and absolutely free from
+the heavy, languorous odors of the South or the morbidezza of Poland."</p>
+
+<p>Some of MacDowell's most direct writing has been in the setting of the
+poems of Burns, such as "Deserted" ("Ye banks and braes o' bonnie Doon,"
+op. 9), "Menie," and "My Jean" (op. 34). These are strongly marked by
+that ineffably fine melodic flavor characteristic of Scottish music,
+while in the accompaniments they admit a touch of the composer's own
+individuality. In his accompaniments it is noteworthy that he is almost
+never strictly contramelodic.</p>
+
+<p>The songs of opera 11 and 12 have a<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> decided Teutonism, but he has found
+himself by opus 40, a volume of "Six Love Songs," containing half a
+dozen flawless gems it is a pity the public should not know more widely.
+A later book, "Eight Songs" (op. 47), is also a cluster of worthies. The
+lilt and sympathy of "The Robin Sings in the Apple-tree," and its
+unobtrusive new harmonies and novel effects, in strange accord with
+truth of expression, mark all the other songs, particularly the
+"Midsummer Lullaby," with its accompaniment as delicately tinted as
+summer clouds. Especially noble is "The Sea," which has all the boom and
+roll of the deep-brooding ocean.</p>
+
+<p>His collections of flower-songs (op. 26) I confess not liking. Though
+they are not without a certain exquisiteness, they seem overdainty and
+wastefully frail, excepting, possibly, the "Clover" and the "Blue-bell."
+It is not at all their brevity, but their triviality, that vexes an
+admirer of the large ability<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> that labored over them. They are dedicated
+to Emilio Agramonte, one of MacDowell's first prophets, and one of the
+earliest and most active agents for the recognition of the American
+composer.</p>
+
+<p>In the lyrics in opus 56 and opus 58 MacDowell has turned song to the
+unusual purposes of a landscape impressionism of places and moods rather
+than people.</p>
+
+<p>For men's voices there are some deftly composed numbers curiously
+devoted to lullaby subjects. The barcarolle for mixed chorus and
+accompaniment on the piano for four hands obtains a wealth of color,
+enhanced by the constant division of the voices.</p>
+
+<p>Studying as he did with Raff, it is but natural that MacDowell should
+have been influenced strongly toward the poetic and fantastic and
+programmatic elements that mark the "Forest Symphony" and the "Lenore
+Overture" of his master.</p>
+
+<p>It is hard to say just how far this descrip<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span>tive music can go. The
+skill of each composer must dictate his own limits. As an example of
+successful pieces of this kind, consider MacDowell's "The Eagle." It is
+the musical realization of Tennyson's well-known poem:</p>
+
+<p class="cpoem">
+"He clasps the crag with crooked hands;<br />
+Close to the sun in lonely lands,<br />
+Ring'd with the azure world, he stands.<br />
+The wrinkled sea beneath him crawls;<br />
+He watches from his mountain walls,<br />
+And like a thunderbolt he falls."<br />
+</p>
+
+<p>Of course the crag and the crooked hands and the azure world must be
+granted the composer, but general exaltation and loneliness are
+expressed in the severe melody of the opening. The wrinkling and
+crawling of the sea far below are splendidly achieved in the soft,
+shimmering liquidity of the music. Then there are two abrupt, but soft,
+short chords that will represent, to the imaginative, the quick fixing
+of the eagle's heart on some<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span> prey beneath; and there follows a sudden
+precipitation down the keyboard, <i>fortississimo</i>, that represents the
+thunderous swoop of the eagle with startling effect.</p>
+
+<p>On the other hand, the "Moonshine" seems to be attempting too much.
+"Winter" does better, for it has a freezing stream, a mill-wheel, and a
+"widow bird." These "four little poems" of opus 32 had been preceded by
+six fine "Idylls" based on lyrics of Goethe's. The first, a forest
+scene, has a distinct flavor of the woods, the second is all laziness
+and drowsiness, and the third is moonlight mystery. The fourth is as
+intense in its suppressed spring ecstasy as the radiant poem itself
+singing how</p>
+
+<p class="cpoems">
+"Soft the ripples spill and hurry<br />
+To the opulent embankment."<br />
+</p>
+
+<p>The six short "Poems" (op. 31) based on poems of Heine's are
+particularly successful, especially in the excellent opportunity of the<span class="pagenum"><a name="Page_44" id="Page_44">44</a></span>
+ lyric describing the wail of the Scottish woman who plays her harp on
+the cliff, and sings above the raging of sea and wind. The third catches
+most happily the whimsicality of the poet's reminiscences of childhood,
+but hardly, I think, the contrasting depth and wildness of his complaint
+that, along with childhood's games, have vanished Faith and Love and
+Truth. In the last, however, the cheery majesty that realizes Heine's
+likening of Death to a cool night after the sultry day of Life, is
+superb.</p>
+
+<p>Then there are some four-hand pieces, two collections, that leave no
+excuse for clinging to the hackneyed classics or modern trash. They are
+not at all difficult, and the second player has something to employ his
+mind besides accompanying chords. They are meaty, and effective almost
+to the point of catchiness. The "Tale of the Knights" is full of
+chivalric fire and martial swing, while the "Ballad" is as exquisitely
+dainty as a peach-<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span>blossom. The "Hindoo Maiden" has a deal of the
+thoroughly Oriental color and feeling that distinguish the three solos
+of "Les Orientales," of which "<a href="#CLAIR_DE_LUNE">Clair de Lune</a>" is one of his most
+original and graceful writings. The duet, "In Tyrol," has a wonderful
+crystal carillon and a quaint shepherd piping a faint reminiscence of
+the Wagnerian school of shepherds. This is one of a series of "Moon
+Pictures" for four hands, based on Hans Christian Andersen's lore. Two
+concertos for piano and orchestra are dazzling feats of virtuosity; one
+of them is reviewed at length in A.J. Goodrich' book, "Musical
+Analysis." He has written also a book of artistic moment called "Twelve
+Virtuoso-Studies," and two books of actual gymnastics for piano
+practice.<br /><br /></p>
+
+<div class="musicbox">
+<a name="CLAIR_DE_LUNE" id="CLAIR_DE_LUNE"></a>
+<h2><br />CLAIR DE LUNE.</h2>
+
+<p class="cpoem">
+<b>La lune était sereine et jouait sur les flots.<br />
+La fenêtre enfin libre est ouverte à la brise;<br />
+La sultane regarde, et la mer qui se brise,<br />
+Là-bas, d'un flot d'argent brode les noir îlots.<br />
+<span style="margin-left: 5em">(Victor Hugo, "Les Orientales.")</span></b></p>
+
+<p class="center">[<a href="music/clairdelune.midi">Listen</a>]</p>
+
+<p class="right"><br /><span style="margin-right: 2.5em"><b>E.A. MACDOWELL, Op. 37, No. 1.</b></span></p>
+
+<p class="center">
+<img src="images/clair01.png" width="700" height="800" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/clair02.png" width="700" height="973" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1889, Arthur P. Schmidt.</b></span><br /><br /></p>
+</div>
+
+<p><br />But MacDowell did not reach his freedom without a struggle against
+academia. His opus 10 is a piano suite published at the age of
+twenty-two, and opus 14 is another; both contain such obsolescences as a
+presto, fugue,<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> scherzino, and the like. But for all the classic garb,
+the hands are the hands of Esau. In one of the pieces there is even a
+motto tucked, "All hope leave ye behind who enter here!" Can he have
+referred to the limbo of classicism?</p>
+
+<p>It is a far cry from these to the liberality that inspired the new
+impressionism of "Woodland Sketches" (op. 51) and "Sea Pieces" (op. 55),
+in which he gives a legitimate musical presentation of a faintly
+perfumed "Wild Rose" or "Water Lily," but goes farther, and paints, with
+wonderful tone, the moods inspired by reverie upon the uncouth dignity
+and stoic savagery of "An Indian Lodge," the lonely New England twilight
+of "A Deserted Farm," and all the changing humors of the sea, majesty of
+sunset or star-rise, and even the lucent emerald of an iceberg. His
+"From Uncle Remus" is not so successful; indeed, MacDowell is not
+sympathetic with negro music, and thinks<span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> that if we are to found a
+national school on some local manner, we should find the Indian more
+congenial than the lazy, sensual slave.</p>
+
+<p>He has carried this belief into action, not only by his scientific
+interest in the collection and compilation of the folk-music of our
+prairies, but by his artistic use of actual Indian themes in one of his
+most important works, his "Indian Suite" for full orchestra, a work that
+has been often performed, and always with the effect of a new and
+profound sensation, particularly in the case of the deeply impressive
+dirge.</p>
+
+<p>A proof of the success of MacDowell as a writer in the large forms is
+the fact that practically all of his orchestral works are published in
+Germany and here, not only in full score, but in arrangement for four
+hands. They include "Hamlet;" "Ophelia" (op. 22); "Launcelot and Elaine"
+(op. 26), with its strangely mellow and varied use of horns for
+Launcelot, and the entrusting of the<span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> plaintive fate of "the lily maid
+of Astolat" to the string and wood-wind choirs; "The Saracens" and "The
+Lovely Alda" (op. 30), two fragments from the Song of Roland; and the
+Suite (op. 42), which has been played at least eight times in Germany
+and eleven times here.</p>
+
+<p>The first movement of this last is called "In a Haunted Forest." You are
+reminded of Siegfried by the very name of the thing, and the music
+enforces the remembrance somewhat, though very slightly.</p>
+
+<p>Everything reminds one of Wagner nowadays,&mdash;even his predecessors.
+Rudyard Kipling has by his individuality so copyrighted one of the
+oldest verse-forms, the ballad, that even "Chevy Chace" looks like an
+advance plagiarism. So it is with Wagner. Almost all later music, and
+much of the earlier, sounds Wagnerian. But MacDowell has been reminded
+of Bayreuth very infrequently in this work. The opening move<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span>ment
+begins with a <i>sotto voce</i> syncopation
+that is very presentative of the curious audible silence of a forest.
+The wilder moments are superbly instrumented.</p>
+
+<p>The second movement, "Summer Idyl," is delicious, particularly in the
+chances it gives the flautist. There is a fragmentary cantilena which
+would make the fortune of a comic opera. The third number, "In October,"
+is particularly welcome in our music, which is strangely and sadly
+lacking in humor. There is fascinating wit throughout this harvest
+revel. "The Shepherdess' Song" is the fourth movement. It is not
+pr&eacute;cieuse, and it is not banal; but its simplicity of pathos is a
+whit too simple. The final number, "Forest Spirits," is a brilliant
+climax. The Suite as a whole is an important work. It has detail of the
+most charming art. Best of all, it is staunchly individual. It is
+MacDowellian.</p>
+
+<p>While the modern piano sonata is to me<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span> anathema as a rule, there are
+none of MacDowell's works that I like better than his writings in this
+form. They are to me far the best since Beethoven, not excepting even
+Chopin's (<i>pace</i> his greatest prophet, Huneker). They seem to me to be
+of such stuff as Beethoven would have woven had he known in fact the
+modern piano he saw in fancy.</p>
+
+<p>The "Sonata Tragica" (op. 45) begins in G minor, with a bigly
+passionate, slow introduction (metronomed in the composer's copy,
+<img src="images/quarter.png" width="23" height="30" alt="quarter note" />-50).
+The first subject is marked in the same copy, though
+not in the printed book, <img src="images/half.png" width="36" height="30" alt="half note" />-69,
+and the appealingly pathetic
+second subject is a little slower. The free fantasy is full of storm and
+stress, with a fierce pedal-point on the trilled leading-tone. In the
+reprise the second subject, which was at first in the dominant major, is
+now in the tonic major, though the key of the sonata is G minor. The
+allegro is metronomed <img src="images/quarter.png" width="23" height="30" alt="quarter note" />-138,
+and it is very short and very
+wild. Through<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span>out, the grief is the grief of a strong soul; it never
+degenerates into whine. Its largo is like the tread of an
+&AElig;schylean <i>choros</i>, its allegro movements are wild with anguish,
+and the occasional uplifting into the major only emphasizes the sombre
+whole, like the little rifts of clearer harmony in Beethoven's "Funeral
+March on the Death of a Hero."</p>
+
+<p>The last movement begins with a ringing <i>pomposo</i>, and I cannot explain
+its meaning better than by quoting Mrs. MacDowell's words: "Mr.
+MacDowell's idea was, so to speak, as follows: He wished to heighten the
+darkness of tragedy by making it follow closely on the heels of triumph.
+Therefore, he attempted to make the last movement a steadily progressive
+triumph, which, at its climax, is utterly broken and shattered. In doing
+this he has tried to epitomize the whole work. While in the other
+movements he aimed at expressing tragic details, in the last he has
+tried to generalize; thinking that the<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> most poignant tragedy is that of
+catastrophe in the hour of triumph."</p>
+
+<p>The third sonata (op. 57) is dedicated to Grieg and to the musical
+exploitation of an old-time Skald reciting glorious battles, loves, and
+deaths in an ancient castle. The atmosphere of mystery and barbaric
+grandeur is obtained and sustained by means new to piano literature and
+potent in color and vigor. The sonata formula is warped to the purpose
+of the poet, but the themes have the classic ideal of kinship. The
+battle-power of the work is tremendous. Huneker calls it "an epic of
+rainbow and thunder," and Henry T. Finck, who has for many years devoted
+a part of his large ardor to MacDowell's cause, says of the work: "It is
+MacDowellish,&mdash;more MacDowellish than anything he has yet written.
+It is the work of a musical thinker. There are harmonies as novel as
+those we encounter in Schubert, Chopin, or Grieg, yet with a stamp of
+their own."<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span></p>
+
+<p>The "Sonata Eroica" (op. 50) bears the legend "Flos regum Arthurus." It
+is also in G minor. The spirit of King Arthur dominates the work
+ideally, and justifies not only the ferocious and warlike first subject
+with its peculiar and influential rhythm, but the old-fashioned and
+unadorned folk-tone of the second subject. In the working out there is
+much bustle and much business of trumpets. In the reprise the folk-song
+appears in the tonic minor, taken most unconventionally in the bass
+under elaborate arpeggiations in the right hand. The coda, as in the
+other sonata, is simply a strong passage of climax. Arthur's
+supernatural nature doubtless suggested the second movement, with its
+elfin airs, its flibbertigibbet virtuosity, and its magic of color. The
+third movement might have been inspired by Tennyson's version of
+Arthur's farewell to Guinevere, it is such a rich fabric of grief. The
+finale seems to me to picture the Morte d'Arthur, beginning with the
+fury of a<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> storm along the coast, and the battle "on the waste sand by
+the waste sea." Moments of fire are succeeded by exquisite deeps of
+quietude, and the death and apotheosis of Arthur are hinted with daring
+and complete equivalence of art with need.</p>
+
+<p>Here is no longer the tinkle and swirl of the elf dances; here is no
+more of the tireless search for novelty in movement and color. This is
+"a flash of the soul that can." Here is Beethoven <i>redivivus</i>. For half
+a century we have had so much pioneering and scientific exploration
+after piano color and tenderness and fire, that men have neglected its
+might and its tragic powers. Where is the piano-piece since Beethoven
+that has the depth, the breadth, the height of this huge solemnity?
+Chopin's sensuous wailing does not afford it. Schumann's complex
+eccentricities have not given it out. Brahms is too passionless. Wagner
+neglected the piano. It remained for a Yankee to find the austere<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span>
+ peak again! and that, too, when the sonata
+was supposed to be a form as exhausted as the epic poem. But all this is
+the praise that one is laughed at for bestowing except on the graves of
+genius.</p>
+
+<p>The cautious Ben Jonson, when his erstwhile taproom roisterer, Will
+Shakespeare, was dead, defied "insolent Greece or haughty Rome" to show
+his superior. With such authority, I feel safe in at least defying the
+contemporary schools of insolent Russia or haughty Germany to send forth
+a better musicwright than our fellow townsman, Edward MacDowell.</p>
+
+<h3><br /><i>Edgar Stillman Kelley.</i></h3>
+
+<p class="border" style="text-align: center"><br />
+<a name="EDGAR_STILLMAN_KELLEY" id="EDGAR_STILLMAN_KELLEY"></a>
+<img src="images/kelley.png" width="276" height="400" alt="" />
+</p>
+
+<p class="caption">EDGAR STILLMAN KELLEY.</p>
+
+<p><br />While his name is known wherever
+American music is known in its better aspects,
+yet, like many another American, his
+real art can be discovered only from his
+manuscripts. In these he shows a very<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span>
+ munificence of enthusiasm, scholarship, invention,
+humor, and originality.</p>
+
+<p class="center"><br />
+<img src="images/kelleyauto.png" width="600" height="219" alt="Autograph of Edgar Stillman Kelley" />
+</p>
+
+<p><br />Kelley is as thorough an American by
+descent as one could ask for, his maternal
+ancestors having settled in this country in
+1630, his paternal progenitors in 1640,
+<span class="smcap">A.D.</span> Indeed, one of the ancestors of his
+father made the dies for the pine-tree shilling,
+and a great-great-grandfather fought in
+the Revolution.</p>
+
+<p>Kelley began his terrestrial career April
+14, 1857, in Wisconsin. His father was a
+revenue officer; his mother a skilled musician,
+who taught him the piano from his
+eighth year to his seventeenth, when he went<span class="pagenum"><a name="Page_59" id="Page_59">59</a></span>
+ to Chicago and studied harmony and counterpoint
+under Clarence Eddy, and the piano
+under Ledochowski. It is interesting to note
+that Kelley was diverted into music from
+painting by hearing "Blind Tom" play Liszt's
+transcription of Mendelssohn's "Midsummer
+Night's Dream" music. I imagine that this
+idiot-genius had very little other influence of
+this sort in his picturesque career.</p>
+
+<p>After two years in Chicago, Kelley went
+to Germany, where, in Stuttgart, he studied
+the piano with Kruger and Speidel, organ
+with Finck, composition and orchestration
+with Seiffritz. While in Germany, Kelley
+wrote a brilliant and highly successful concert
+polonaise for four hands, and a composition
+for strings.</p>
+
+<p>In 1880 he was back in America and
+settled in San Francisco, with whose musical
+life he was long and prominently identified
+as a teacher and critic. Here he wrote his
+first large work, the well-known melodramatic<span class="pagenum"><a name="Page_60" id="Page_60">60</a></span>
+ music to "Macbeth." A local benefactor,
+John Parrot, paid the expenses of a public
+performance, the great success of which
+persuaded McKee Rankin, the actor, to
+make an elaborate production of both play
+and music. This ran for three weeks in San
+Francisco to crowded houses, which is a remarkable
+record for many reasons. A shabby
+New York production at an ill-chosen theatre
+failed to give the work an advantageous hearing;
+but it has been played by orchestras
+several times since, and William H. Sherwood
+has made transcriptions of parts of it for
+piano solo.</p>
+
+<p>The "Macbeth" music is of such solid
+value that it reaches the dignity of a flowing
+commentary. Beyond and above this it is an
+interpretation, making vivid and awesome the
+deep import of the play, till even the least
+imaginative auditor must feel its thrill.</p>
+
+<p>Thus the gathering of the witches begins
+with a slow horror, which is surely Shake<span class="pagenum"><a name="Page_61" id="Page_61">61</a></span>speare's
+ idea, and not the comic-opera <i>can-can</i>
+it is frequently made. As various other
+elfs and terrors appear, they are appropriately
+characterized in the music, which also adds
+mightily to the terror of the murder scene.
+Throughout, the work is that of a thinker.
+Like much of Kelley's other music, it is also
+the work of a fearless and skilled programmatist,
+especially in the battle-scenes, where
+it suggests the crash of maces and swords,
+and the blare of horns, the galloping of
+horses, and the general din of huge battle.
+Leading-motives are much used, too, with
+good effect and most ingenious elaboration,
+notably the <i>Banquo</i> motive. A certain
+amount of Gaelic color also adds interest
+to the work, particularly a stirring Gaelic
+march. The orchestration shows both
+scholarship and daring.</p>
+
+<p>An interesting subject is suggested by
+Kelley's experience in hunting out a good
+motif for the galloping horses of "Macbeth." <span class="pagenum"><a name="Page_62" id="Page_62">62</a></span>
+He could find nothing suitably representative
+of storm-hoofed chargers till his dreams came
+to the rescue with a genuinely inspired theme.
+Several other exquisite ideas have come to
+him in his sleep in this way; one of them
+is set down in the facsimile reproduced
+herewith. On one occasion he even dreamed
+an original German poem and a fitting musical
+setting.</p>
+
+<p>Dr. Wm. A. Hammond, in his book on
+"Sleep and Its Derangements," is inclined
+to scout the possibility of a really valuable
+inspiration in sleep. He finds no satisfactory
+explanation for Tartini's famous "Devil's
+Sonata" or Coleridge' proverbial "Kubla
+Khan." He takes refuge in saying that at
+least the result could not be equal to the
+dreamer's capabilities when awake; but
+Kelley's "Macbeth" music was certainly
+an improvement on what he could invent out
+of the land of Nod.</p>
+
+<p>After composing a comic opera, which<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span>
+ was refused by the man for whom it was written
+because it was too good, he drifted into
+journalism, and wrote reviews and critiques
+which show a very liberal mind capable
+of appreciating things both modern and
+classic.</p>
+
+<p>Kelley was again persuaded to write a
+comic opera to the artistic libretto, "Puritania,"
+by C.M.S. McLellan, a brilliant
+satirist, who has since won fortune by his
+highly successful and frequently artistic burlesquery.
+The work won excellent praise in
+Boston, where it had one hundred performances.
+The work musically was not only
+conscientious, but really graceful and captivating.
+It received the most glowing encomiums
+from people of musical culture, and
+largely enhanced Kelley's musical reputation
+in its run of something over a year. On its
+tour Kelley was also the musical conductor,
+in which capacity he has frequently served
+elsewhere.<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span></p>
+
+<p>Kelley plainly deserves pre&euml;minence among
+American composers for his devotion to, and
+skill in, the finer sorts of humorous music.
+No other American has written so artfully,
+so happily, or so ambitiously in this field. A
+humorous symphony and a Chinese suite
+are his largest works on this order.</p>
+
+<p>The symphony follows the life of "Gulliver
+in Lilliput." In development and intertwining
+of themes and in brilliance of orchestration,
+it maintains symphonic dignity, while in
+play of fancy, suggestive programmaticism,
+and rollicking enthusiasm it is infectious
+with wit. Gulliver himself is richly characterized
+with a burly, blustering English
+theme. The storm that throws him on the
+shores of Lilliput is handled with complete
+mastery, certain phrases picturing the toss of
+the billows, another the great roll of the
+boat, others the rattle of the rigging and the
+panic of the crew; and all wrought up to a
+demoniac climax at the wreck. As the <span class="pagenum"><a name="Page_65" id="Page_65">65</a></span>
+stranded Gulliver falls asleep, the music hints
+his nodding off graphically. The entrance of
+the Lilliputians is perhaps the happiest bit
+of the whole delicious work. By adroit devices
+in instrumentation, their tiny band
+toots a minute national hymn of irresistible
+drollery. The sound of their wee hammers
+and the rest of the ludicrous adventures are
+carried off in unfailing good humor. The
+scene finally changes to the rescuing ship.
+Here a most hilarious hornpipe is interrupted
+by the distant call of Gulliver's aria, and the
+rescue is consummated delightfully.</p>
+
+<p>In nothing has Kelley showed such wanton
+scholarship and such free-reined fancy as in
+his Chinese suite for orchestra, "Aladdin." It
+is certainly one of the most brilliant musical
+feats of the generation, and rivals Richard
+Strauss in orchestral virtuosity.</p>
+
+<p>While in San Francisco, where, as every
+one knows, there is a transplanted corner of
+China, Kelley sat at the feet of certain Celes<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span>tial
+ cacophonists, and made himself adept.
+He fathomed the, to us, obscure laws of
+their theory, and for this work made a careful
+selection of Chinese musical ideas, and
+used what little harmony they approve of
+with most quaint and suggestive effect upon
+a splendid background of his own. The result
+has not been, as is usual in such alien
+mimicries, a mere success of curiosity.</p>
+
+<p>The work had its first accolade of genius
+in the wild protests of the music copyists,
+and in the downright mutiny of orchestral
+performers.</p>
+
+<p>On the first page of the score is this note:
+"This should be played with a bow unscrewed,
+so that the hairs hang loose&mdash;thus the bow
+never leaves the string." This direction is
+evidently meant to secure the effect of the
+Chinese violin, in which the string passes
+between the hair and the wood of the bow,
+and is played upon the under side. But
+what self-respecting violinist could endure <span class="pagenum"><a name="Page_67" id="Page_67">67</a></span>
+such profanation without striking a blow for
+his fanes?</p>
+
+<p>The first movement of the suite is made
+up of themes actually learned from Chinese
+musicians. It represents the "Wedding of
+Aladdin and the Princess," a sort of sublimated
+"shivaree" in which oboes quawk,
+muted trumpets bray, pizzicato strings flutter,
+and mandolins (loved of Berlioz) twitter
+hilariously.</p>
+
+<p>The second movement, "A Serenade in
+the Royal Pear Garden," begins with a luxurious
+tone-poem of moonlight and shadow,
+out of which, after a preliminary tuning of
+the Chinese lute (or sam-yin), wails a lyric
+caterwaul (alternately in 2-4 and 3-4 tempo)
+which the Chinese translate as a love-song.
+Its amorous grotesque at length subsides into
+the majestic night. A part of this altogether
+fascinating movement came to Kelley in a
+dream.</p>
+
+<p>The third chapter is devoted to the "Flight <span class="pagenum"><a name="Page_68" id="Page_68">68</a></span>
+of the Genie with the Palace," and there is a
+wonderfully vivid suggestion of his struggle
+to wrest loose the foundations of the building.
+At length he heaves it slowly in the air, and
+wings majestically away with it.</p>
+
+<p>It has always seemed to me that the purest
+stroke of genius in instrumentation ever
+evinced was Wagner's conceit of using tinkling
+bells to suggest leaping flames. And
+yet quite comparable with this seems Kelley's
+device to indicate the oarage of the genie's
+mighty wings as he disappears into the
+sky: liquid <i>glissandos</i> on the upper harp-strings,
+with chromatic runs upon the elaborately
+divided violins, at length changed to
+sustained and most ethereally fluty harmonics.
+It is very ravishment.</p>
+
+<p>The last movement, "The Return and
+Feast of the Lanterns," is on the sonata
+formula. After an introduction typifying the
+opening of the temple gates (a gong giving
+the music further locale), the first theme is <span class="pagenum"><a name="Page_69" id="Page_69">69</a></span>
+announced by harp and mandolin. It is an
+ancient Chinese air for the yong-kim (a dulcimer-like
+instrument). The second subject
+is adapted from the serenade theme. With
+these two smuggled themes everything contrapuntal
+(a fugue included) and instrumental
+is done that technical bravado could suggest
+or true art license. The result is a carnival
+of technic that compels the layman to wonder
+and the scholar to homage.</p>
+
+<p>A transcription for a piano duet has been
+made of this last movement.</p>
+
+<p>In Chinese-tone also is Kelley's most popular
+song, "The Lady Picking Mulberries,"
+which brought him not only the enthusiasm
+of Americans but the high commendation of
+the Chinese themselves. It is written in the
+limited Chinese scale, with harmonies of our
+school; and is a humoresque of such catchiness
+that it has pervaded even London and
+Paris.</p>
+
+<p>This song is one of a series of six lyrics <span class="pagenum"><a name="Page_70" id="Page_70">70</a></span>
+called "The Phases of Love," with this motive
+from the "Anatomy of Melancholy": "I am
+resolved, therefore, in this tragi-comedy of
+love, to act several parts, some satirically,
+some comically, some in a mixed tone." The
+poems are all by American poets, and the
+group, opus 6, is an invaluable addition to our
+musical literature. The first of the series,
+"My Silent Song," is a radiantly beautiful
+work, with a wondrous tender air to a rapturous
+accompaniment. The second is a setting
+of Edward Rowland Sill's perfect little poem,
+"Love's Fillet." The song is as full of art
+as it is of feeling and influence. "What the
+Man in the Moon Saw" is an engaging satire,
+"Love and Sleep" is sombre, and "In a
+Garden" is pathetic.</p>
+
+<p>Besides two small sketches, a waltz and a
+gavotte, and his own arrangements, for two
+and for four hands, of the Gaelic March in
+"Macbeth," Kelley has published only three
+piano pieces: opus 2, "The Flower Seekers," <span class="pagenum"><a name="Page_71" id="Page_71">71</a></span>
+superb with grace, warm harmony, and May
+ecstasies; "Confluentia," whose threads of
+liquidity are eruditely, yet romantically, intertangled
+to represent the confluence of the
+Rhine and the Moselle; and "The Headless
+Horseman," a masterpiece of burlesque weirdness,
+representing the wild pursuit of Ichabod
+Crane and the final hurling of the awful
+head,&mdash;a pumpkin, some say. It is relieved
+by Ichabod's tender reminiscences of Katrina
+Van Tassel at the spinning-wheel, and is
+dedicated to Joseffy, the pianist, who lives in
+the region about Sleepy Hollow.</p>
+
+<p>To supplement his successful, humorously
+melodramatic setting of "The Little Old
+Woman who Went to the Market her Eggs
+for to Sell," Kelley is preparing a series
+of similar pieces called "Tales Retold for
+Musical Children." It will include "Gulliver,"
+"Aladdin," and "Beauty and the
+Beast."</p>
+
+<p>Kelley once wrote music for an adapt<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span>ation
+ of "Prometheus Bound," made by the
+late George Parsons Lathrop for that ill-starred
+experiment, the Theatre of Arts and
+Letters. The same thoroughness of research
+that gave Kelley such a command of Chinese
+theories equipped him in what knowledge we
+have of Greek and the other ancient music.
+He has delivered a course of lectures on
+these subjects, and this learning was put to
+good and public use in his share in the staging
+of the novel "Ben Hur." His music
+had a vital part in carrying the play over the
+thin ice of sacrilege; it was so reverent and
+so appealing that the scrubwomen in the
+theatre were actually moved to tears during
+its rehearsal, and it gave the scene of the
+miraculous cure of the lepers a dignity that
+saved it from either ridicule or reproach.</p>
+
+<p>In the first act there is a suggestion of the
+slow, soft march of a caravan across the sand,
+the eleven-toned Greek and Egyptian scale
+being used. In the tent of the Sheik, an old <span class="pagenum"><a name="Page_73" id="Page_73">73</a></span>
+Arabian scale is employed. In the elaborate
+ballets and revels in the "Grove of Daphne"
+the use of Greek scales, Greek progressions
+(such as descending parallel fourths long forbidden
+by the doctors of our era), a trimetrical
+grouping of measures (instead of our
+customary fourfold basis), and a suggestion
+of Hellenic instruments,&mdash;all this lore has
+not robbed the scene in any sense of an irresistible
+brilliance and spontaneity. The weaving
+of Arachne's web is pictured with especial
+power. Greek traditions have, of course,
+been used only for occasional impressionisms,
+and not as manacles. Elaborately colored
+modern instrumentation and all the established
+devices from canon up are employed.
+A piano transcription of part of the music is
+promised. The "Song of Iras" has been
+published. It is full of home-sickness, and
+the accompaniment (not used in the production)
+is a wonderwork of color.<br /><br /></p>
+
+<div class="musicbox">
+<a name="ISRAFEL" id="ISRAFEL"></a>
+<p class="center"><br />
+[<a href="music/israfel.midi">Listen</a>]<br />
+<br />
+<img src="images/israfel01.png" width="700" height="929" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/israfel02.png" width="700" height="906" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>By permission.</b></span></p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="lyrics">
+<tr>
+<td>
+Tottering above<br />
+In her highest noon<br />
+The enamoured moon blushes with love<br />
+While to listen<br />
+The red levin<br />
+With the rapid pleiads even<br />
+Which were seven<br />
+Pauses in heaven!<br />
+Pauses in heaven!
+</td>
+<td>
+And they say the starry choir<br />
+And the other listening things,<br />
+That Israfel's fire is owing to that lyre<br />
+By which he sits and sings<br />
+The trembling living wire<br />
+Of those unusual strings<br />
+Of those unusual strings.<br />
+<br />
+<br />
+</td>
+</tr>
+</table>
+
+<p class="caption"><br />FRAGMENT OF "ISRAFEL," BY EDGAR S. KELLEY.<br />
+<br /></p>
+</div>
+
+<p><br />Kelley has two unpublished songs that
+<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span>show him at his best, both settings of verse
+by Poe,&mdash;"Eldorado," which vividly develops
+the persistence of the knight, and "<a href="#ISRAFEL">Israfel</a>."
+This latter poem, as you know, concerns the
+angel "whose heart-strings are a lute." After
+a rhapsody upon the cosmic spell of the angel's
+singing, Poe, with a brave defiance, flings an
+implied challenge to him. The verse marks
+one of the highest reaches of a genius honored
+abroad as a world-great lyrist. It is,
+perhaps, praise enough, then, to say that Kelley's
+music flags in no wise behind the divine
+progress of the words. The lute idea dictates
+an arpeggiated accompaniment, whose harmonic
+beauty and courage is beyond description
+and beyond the grasp of the mind at the
+first hearing. The bravery of the climax follows
+the weird and opiate harmonies of the
+middle part with tremendous effect. The
+song is, in my fervent belief, a masterwork
+of absolute genius, one of the very greatest
+lyrics in the world's music.</p>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">77</a></span></p>
+<h3><br /><i>Harvey Worthington Loomis.</i></h3>
+
+<p class="center"><br />
+<img src="images/loomisauto.png" width="600" height="210" alt="Autograph of Harvey Worthington Loomis" />
+</p>
+
+<p><br />In the band of pupils that gathered to
+the standard of the invader, Antonin Dv&ocirc;r&aacute;k,
+when, in 1892, he came over here from Macedonia
+to help us, some of the future's best
+composers will probably be found.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="LOOMIS" id="LOOMIS"></a>
+<img src="images/loomis.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">HARVEY WORTHINGTON LOOMIS.</p>
+
+<p><br />Of this band was Harvey Worthington
+Loomis, who won a three years' scholarship
+in Doctor Dv&ocirc;r&aacute;k's composition class at the
+National Conservatory, by submitting an excellent,
+but rather uncharacteristic, setting of
+Eichendorff's "Fr&uuml;hlingsnacht." Loomis evidently
+won Doctor Dv&ocirc;r&aacute;k's confidence, for
+among the tasks imposed on him was a piano
+concerto to be built on the lines of so elaborate
+a model as Rubinstein's in D minor. <span class="pagenum"><a name="Page_78" id="Page_78">78</a></span>
+When Loomis' first sketches showed an elaboration
+even beyond the complex pattern,
+Dv&ocirc;r&aacute;k still advised him to go on. To any
+one that knows the ways of harmony teachers
+this will mean much.</p>
+
+<p>Loomis (who was born in Brooklyn, February
+5, 1865, and is now a resident of New
+York) pursued studies in harmony and piano
+in a desultory way until he entered Doctor
+Dv&ocirc;r&aacute;k's class. For his musical tastes he
+was indebted to the artistic atmosphere of
+his home.</p>
+
+<p>Though Loomis has written something
+over five hundred compositions, only a few
+works have been published, the most important
+of which are "Fairy Hill," a cantatilla
+for children, published in 1896 (it was written
+on a commission that fortunately allowed
+him liberty for not a little elaboration and
+individuality), "<a href="#SANDALPHON">Sandalphon</a>," and a few
+songs and piano pieces.</p>
+
+<p>A field of his art that has won his especial <span class="pagenum"><a name="Page_79" id="Page_79">79</a></span>
+interest is the use of music as an atmosphere
+for dramatic expression. Of this sort are a
+number of pantomimes, produced with much
+applause in New York by the Academy of
+Dramatic Arts; and several musical backgrounds.
+The 27th of April, 1896, a concert
+of his works was given by a number of
+well-known artists.</p>
+
+<p>These musical backgrounds are played in
+accompaniment to dramatic recitations. Properly
+managed, the effect is most impressive.
+F&eacute;val's poem, "The Song of the Pear-tree,"
+is a typically handled work. The poem tells
+the story of a young French fellow, an orphan,
+who goes to the wars as substitute for
+his friend Jean. After rising from rank to
+rank by bravery, he returns to his home just
+as his sweetheart, Perrine, enters the church
+to wed Jean. The girl had been his one
+ambition, and now in his despair he re&euml;nlists
+and begs to be placed in the thickest of danger.
+When he falls, they find on his breast <span class="pagenum"><a name="Page_80" id="Page_80">80</a></span>
+a withered spray from the pear-tree under
+which Perrine had first plighted troth. On
+these simple lines the music builds up a
+drama. From the opening shimmer and
+rustle of the garden, through the Gregorian
+chant that solemnizes the drawing of the
+lots, and is interrupted by the youth's start
+of joy at his own luck (an abrupt <i>glissando</i>);
+through his sturdy resolve to go to war in
+his friend's place, on through many battles
+to his death, all is on a high plane that
+commands sympathy for the emotion, and
+enforces unbounded admiration for the art.
+There is a brief hint of the Marseillaise
+woven into the finely varied tapestry of martial
+music, and when the lover comes trudging
+home, his joy, his sudden knowledge of Perrine's
+faithlessness, and his overwhelming
+grief are all built over a long organ-point
+of three clangorous bride-bells. The <i>leit-motif</i>
+idea is used with suggestive clearness
+throughout the work.<span class="pagenum"><a name="Page_81" id="Page_81">81</a></span></p>
+
+<p>The background to Longfellow's "<a href="#SANDALPHON">Sandalphon</a>"
+is so fine an arras that it gives the
+poet a splendor not usual to his bourgeois
+lays. The music runs through so many
+phases of emotion, and approves itself so
+original and exaltedly vivid in each that I
+put it well to the fore of American compositions.</p>
+
+<p>Hardly less large is the&mdash;Loomis calls it
+"Musical Symbolism," for Adelaide Ann
+Proctor's "The Story of the Faithful Soul."
+Of the greatest delicacy imaginable is the
+music (for piano, violin, and voice) to William
+Sharp's "Coming of the Prince." The
+"Watteau Pictures" are poems of Verlaine's
+variously treated: one as a head-piece to a
+wayward piano caprice, one to be recited during
+a picturesque waltz, the last a song with
+mandolin effects in the accompaniment.<br /><br /></p>
+
+<div class="musicbox">
+<a name="SANDALPHON" id="SANDALPHON"></a>
+
+<p class="center"><br />[<a href="music/sandalphon.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/sandalphon01.png" width="700" height="967" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/sandalphon02.png" width="700" height="953" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1896, by Edgar S. Werner.</b></span></p>
+
+<p class="cpoem"><br />
+How, erect, at the outermost gates of the City<br />
+Celestial he waits,<br />
+With his feet on the ladder of light,<br />
+That, crowded with angels unnumbered,<br />
+By Jacob was seen as he slumbered<br />
+Alone in the desert at night?<br />
+The Angels of Wind and of Fire<br />
+Chant only one hymn, and expire<br />
+With the song's irresistible stress,<br />
+Expire in their rapture and wonder,<br />
+As harp-strings are broken asunder<br />
+By music they throb to express.<br />
+But serene in the rapturous throng,<br />
+Unmoved by the rush of the song,<br />
+With eyes unimpassioned and slow,<br />
+Among the dead angels, the deathless<br />
+Sandalphon stands listening, breathless,<br />
+To sounds that ascend from below,...
+</p>
+
+<p class="caption"><br />A FRAGMENT OF "SANDALPHON," BY H.W. LOOMIS.<br /><br /></p>
+</div>
+
+<p><br />The pantomimes range from grave to gay,
+most of the librettos in this difficult form
+being from the clever hand of Edwin Starr
+<span class="pagenum"><a name="Page_84" id="Page_84">84</a></span>
+Belknap. "The Traitor Mandolin," "In Old
+New Amsterdam," "Put to the Test,"
+"Blanc et Noir," "The Enchanted Fountain,"
+"Her Revenge," "Love and Witchcraft"
+are their names. The music is full
+of wit, a quality Loomis possesses in unusual
+degree. The music mimics everything
+from the busy feather-duster of the
+maid to her eavesdropping. Pouring wine,
+clinking glasses, moving a chair, tearing up
+a letter, and a rollicking wine-song in pantomime
+are all hinted with the drollest and
+most graphic programmism imaginable.</p>
+
+<p>Loomis has also written two burlesque
+operas, "The Maid of Athens" and "The
+Burglar's Bride," the libretto of the latter by
+his brother, Charles Battell Loomis, the well-known
+humorist. This latter contains some
+skilful parody on old fogyism.</p>
+
+<p>In the Violin Sonata the piano, while
+granting precedence to the violin, approaches
+almost to the dignity of a duet. The finale <span class="pagenum"><a name="Page_85" id="Page_85">85</a></span>
+is captivating and brilliant, and develops some
+big climaxes. The work as a whole is really
+superb, and ought to be much played. There
+are, besides, a "Lyric Finale" to a sonata
+not yet written, and several songs for violin,
+voice, and piano.</p>
+
+<p>A suite for four hands, "In Summer
+Fields," contains some happy manifestations
+of ability, such as "A June Roundelay,"
+"The Dryad's Grove," and, especially, a humoresque
+"Junketing," which is surely destined
+to become a classic. From some of
+his pantomimes Loomis has made excerpts,
+and remade them with new elaboration for
+two pianos, under the name of "Exotics."
+These are full of variety and of actual novelty,
+now of startling discord, now of revelatory
+beauty. A so-called "Norland Epic,"
+freely constructed on the sonata formula, is
+one of Loomis' most brilliant and personal
+achievements.</p>
+
+<p>Loomis has an especial aptitude for writing <span class="pagenum"><a name="Page_86" id="Page_86">86</a></span>
+artistic ballet-music, and for composing in the
+tone of different nationalities, particularly
+the Spanish. His pantomimes contain many
+irresistible dances, one of them including a
+Chinese dance alternating 4-4 with 3-4 time.
+His strikingly fleet "Harlequin" has been
+published.</p>
+
+<p>The gift of adding art to catchiness is a
+great one. This Loomis seems to have to an
+unusual degree, as is evidenced by the dances
+in his pantomimes and his series of six pieces
+"In Ballet Costume," all of them rich with
+the finest art along with a Strauss-like spontaneity.
+These include "L'Amazone," "Pirouette,"
+"Un Pas Seul," "La Coryph&eacute;e," "The
+Odalisque," and "The Magyar." One of his
+largest works is a concert waltz, "Mi-Car&ecirc;me,"
+for two pianos, with elaborate and extended
+introduction and coda.</p>
+
+<p>A series of Genre Pictures contains such
+lusciousness of felicity as "At an Italian
+Festival," and there are a number of musical <span class="pagenum"><a name="Page_87" id="Page_87">87</a></span>
+moments of engaging charm, for instance,
+"N'Importe Quoi," "From a Conservatory
+Program," "A Tropical Night," a fascinating
+"Valsette," a nameless valse, and
+"Another Scandal," which will prove a gilt-edged
+speculation for some tardy publisher.
+It is brimming with the delicious horror
+of excited gossipry. An example of how
+thoroughly Loomis is invested with music&mdash;how
+he thinks in it&mdash;is his audacious scherzo,
+"The Town Crier," printed herewith.</p>
+
+<p>In songs Loomis has been most prolific.
+He has set twenty-two of Shakespeare's lyrics
+to music of the old English school, such as
+his uproarious "Let me the cannikin clink,"
+and his dainty "Tell me where is fancy
+bred."</p>
+
+<p>"The Lark" is written in the pentatonic
+scale, with accompaniment for two flutes and
+a harp.</p>
+
+<p>In the same vein are various songs of
+Herrick, a lyrist whose verse is not usu<span class="pagenum"><a name="Page_88" id="Page_88">88</a></span>ally
+ congenial to the modern music-maker.
+Loomis' "Epitaph on a Virgin" must be
+classed as a success. Indeed, it reaches positive
+grandeur at its climax, wherein is woven
+the grim persistence of a tolling bell. In
+the same style is a clever setting of Ben
+Jonson's much music'd "To Celia."</p>
+
+<p>In German-tone are his veritably magnificent
+"Herbstnacht" and his "At Midnight,"
+two studies after Franz. Heine's "Des
+Waldes Kapellmeister" has been made into
+a most hilarious humoresque.</p>
+
+<p>"Bergerie" is a dozen of Norman Gale's
+lyrics. "Andalusia" is a flamboyant duet.</p>
+
+<p>In Scotch songs there is a positive embarrassment
+of riches, Loomis' fancies finding
+especial food and freedom in this school. I
+find in these settings far more art and grace
+than I see even in Schumann's many Scotch
+songs, or those of any other of the Germans.
+"Oh, for Ane and Twenty" has bagpipe
+effects. Such flights of ecstasy as "My <span class="pagenum"><a name="Page_89" id="Page_89">89</a></span>
+Wife's a Winsome Wee Thing," and "Bonnie
+Wee Thing," are simply tyrannical in their
+appeal. Then there is an irresistible "Polly
+Stewart;" and "My Peggy's Heart" is fairly
+ambrosial. These and several others, like
+"There Was a Bonnie Lass," could be made
+into an album of songs that would delight a
+whole suite of generations.</p>
+
+<p>A number of his songs are published:
+they include a "John Anderson, My Jo," that
+has no particular right to live; a ballad,
+"Molly," with a touch of art tucked into it;
+the beautiful "Sylvan Slumbers," and the
+quaint and fascinating "Dutch Garden."</p>
+
+<p>Aside from an occasional song like "Thistledown,"
+with its brilliantly fleecy accompaniment,
+and the setting of Browning's
+famous "The Year' at the Spring," for which
+Loomis has struck out a superb frenzy, and
+a group of songs by John Vance Cheney,
+Loomis has found some of his most powerful
+inspirations in the work of our lyrist, Aldrich,<span class="pagenum"><a name="Page_90" id="Page_90">90</a></span>&mdash;such
+ as the rich carillon of "Wedded,"
+and his "Discipline," one of the best of
+all humorous songs, a gruesome scherzo all
+about dead monks, in which the music
+furnishes out the grim irreverence of the
+words with the utmost waggery.</p>
+
+<p>Chief among the lyrics by Cheney are
+three "Spring Songs," in which Loomis has
+caught the zest of spring with such rapture
+that, once they are heard, the world seems
+poor without them in print. Loomis' literary
+culture is shown in the sure taste of his
+selection of lyrics for his music. He has
+marked aptitudes, too, in creative literature,
+and has an excellent idea of the arts kindred
+to his own, particularly architecture.</p>
+
+<p>Like Chopin, Loomis is largely occupied in
+mixing rich new colors on the inexhaustible
+palette of the piano. Like Chopin, he is not
+especially called to the orchestra. What the
+future may hold for him in this field (by no
+means so indispensable to classic repute as <span class="pagenum"><a name="Page_91" id="Page_91">91</a></span>
+certain pedants assume) it is impossible to
+say. In the meantime he is giving most of
+his time to work in larger forms.</p>
+
+<p>If in his restless hunt for novelty, always
+novelty, he grows too original, too unconventional,
+this sin is unusual enough to approach
+the estate of a virtue. But his oddity is not
+mere sensation-mongering. It is his individuality.
+He could make the same reply
+to such criticism that Schumann made; he
+thinks in strange rhythms and hunts curious
+effects, because his tastes are irrevocably so
+ordained.</p>
+
+<p>But we ought to show a new genius the
+same generosity toward flaws that we extend
+toward the masters whose fame is won beyond
+the patronage of our petty forgiveness. And,
+all in all, I am impelled to prophesy to Loomis
+a place very high among the inspired makers
+of new music. His harmonies, so indefatigably
+searched out and polished to splendor,
+so potent in enlarging the color-scale of the <span class="pagenum"><a name="Page_92" id="Page_92">92</a></span>
+piano; his patient building up, through long
+neglect and through long silence, of a monumental
+group of works and of a distinct
+individuality, must prove at some late day
+a source of lasting pride to his country,
+neglectful now in spite of itself. But better
+than his patience, than his courage, than his
+sincerity, better than that insufficient definition
+of genius,&mdash;the capacity for taking
+infinite pains,&mdash;is his inspired felicity. His
+genius is the very essence of felicity.</p>
+
+<h3><br /><i>Ethelbert Nevin.</i></h3>
+
+<p>It is refreshing to be able to chronicle the
+achievements of a composer who has become
+financially successful without destroying his
+claim on the respect of the learned and
+severe, or sacrificing his own artistic conscience
+and individuality. Such a composer
+is Ethelbert Nevin.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="NEVIN" id="NEVIN"></a>
+<img src="images/nevin.png" width="274" height="400" alt="" />
+</p>
+
+<p class="caption">ETHELBERT NEVIN.</p>
+
+<p><br />His published writings have been altogether <span class="pagenum"><a name="Page_93" id="Page_93">93</a></span>
+along the smaller lines of composition, and he
+has won an enviable place as a fervent worker
+in diamonds. None of his gems are paste,
+and a few have a perfection, a solidity, and a
+fire that fit them for a place in that coronet
+one might fancy made up of the richest of
+the jewels of the world's music-makers, and
+fashioned for the very brows of the Muse
+herself.</p>
+
+<p class="center"><br />
+<img src="images/nevinauto.png" width="600" height="358" alt="Autograph of Ethelbert Nevin" />
+</p>
+
+<p><br />Nevin was born in 1862, at Vineacre, on
+the banks of the Ohio, a few miles from Pittsburgh.
+There he spent the first sixteen years
+of his life, and received all his schooling, <span class="pagenum"><a name="Page_94" id="Page_94">94</a></span>
+most of it from his father, Robert P. Nevin,
+editor and proprietor of a Pittsburgh newspaper,
+and a contributor to many magazines.
+It is interesting to note that he also composed
+several campaign songs, among them
+the popular "Our Nominee," used in the day
+of James K. Polk's candidacy. The first
+grand piano ever taken across the Allegheny
+Mountains was carted over for Nevin's
+mother.</p>
+
+<p>From his earliest infancy Nevin was musically
+inclined, and, at the age of four, was
+often taken from his cradle to play for
+admiring visitors. To make up for the deficiency
+of his little legs, he used to pile
+cushions on the pedals so that he might
+manipulate them from afar.</p>
+
+<p>Nevin's father provided for his son both
+vocal and instrumental instruction, even taking
+him abroad for two years of travel and
+music study in Dresden under Von B&ouml;hme.
+Later he studied the piano for two years at <span class="pagenum"><a name="Page_95" id="Page_95">95</a></span>
+Boston, under B.J. Lang, and composition
+under Stephen A. Emery, whose little primer
+on harmony has been to American music almost
+what Webster's spelling-book was to our
+letters.</p>
+
+<p>At the end of two years he went to Pittsburgh,
+where he gave lessons, and saved
+money enough to take him to Berlin. There
+he spent the years 1884, 1885, and 1886,
+placing himself in the hands of Karl Klindworth.
+Of him Nevin says: "To Herr
+Klindworth I owe everything that has come
+to me in my musical life. He was a devoted
+teacher, and his patience was tireless. His
+endeavor was not only to develop the student
+from a musical standpoint, but to enlarge
+his soul in every way. To do this, he
+tried to teach one to appreciate and to feel
+the influence of such great minds of literature
+as Goethe, Schiller, and Shakespeare. He
+used to insist that a man does not become a
+musician by practising so many hours a day at <span class="pagenum"><a name="Page_96" id="Page_96">96</a></span>
+the piano, but by absorbing an influence from
+all the arts and all the interests of life, from
+architecture, painting, and even politics."</p>
+
+<p>The effect of such broad training&mdash;enjoyed
+rarely enough by music students&mdash;is
+very evident in Nevin's compositions. They
+are never narrow or provincial. They are
+the outpourings of a soul that is not only
+intense in its activities, but is refined and
+cultivated in its expressions. This effect is
+seen, too, in the poems Nevin chooses to set
+to music,&mdash;they are almost without exception
+verses of literary finish and value. His cosmopolitanism
+is also remarkable, his songs in
+French, German, and Italian having no trace
+of Yankee accent and a great fidelity to their
+several races.</p>
+
+<p>In 1885, Hans von B&uuml;low incorporated the
+best four pupils of his friend, Klindworth,
+into an artist class, which he drilled personally.
+Nevin was one of the honored four,
+and appeared at the unique public <i>Zuh&ouml;ren</i> of <span class="pagenum"><a name="Page_97" id="Page_97">97</a></span>
+that year, devoted exclusively to the works
+of Brahms, Liszt, and Raff. Among the
+forty or fifty studious listeners at these
+recitals, Frau Cosima Wagner, the violinist
+Joachim, and many other celebrities were
+frequently present.</p>
+
+<p>Nevin returned to America in 1887, and
+took up his residence in Boston, where he
+taught and played at occasional concerts.</p>
+
+<p>Eighteen hundred and ninety-two found
+him in Paris, where he taught, winning more
+pupils than here. He was especially happy
+in imparting to singers the proper <i>Auffassung</i>
+(grasp, interpretation, finish) of songs, and
+coached many American and French artists
+for the operatic stage. In 1893 the restless
+troubadour moved on to Berlin, where he
+devoted himself so ardently to composition
+that his health collapsed, and he was exiled
+a year to Algiers. The early months of
+1895 he spent in concert tours through this
+country. As Klindworth said of him, "he <span class="pagenum"><a name="Page_98" id="Page_98">98</a></span>
+has a touch that brings tears," and it is in
+interpretation rather than in bravura that he
+excels. He plays with that unusual combination
+of elegance and fervor that so individualizes
+his composition.</p>
+
+<p>Desirous of finding solitude and atmosphere
+for composition, he took up his residence in
+Florence, where he composed his suite, "May
+in Tuscany" (op. 21). The "Arlecchino"
+of this work has much sprightliness, and
+shows the influence of Schumann, who made
+the harlequin particularly his own; but there
+is none of Chopin's nocturnity in the "Notturno,"
+which presents the sussurus and the
+moonlit, amorous company of "Boccaccio's
+Villa." The suite includes a "Misericordia"
+depicting a midnight cort&egrave;ge along the Arno,
+and modelled on Chopin's funeral march in
+structure with its hoarse dirge and its rich
+cantilena. The best number of the suite is
+surely the "Rusignuolo," an exceedingly
+fluty bird-song.<span class="pagenum"><a name="Page_99" id="Page_99">99</a></span></p>
+
+<p>From Florence, Nevin went to Venice,
+where he lived in an old <i>casa</i> on the Grand
+Canal, opposite the Browning palazzo, and
+near the house where Wagner wrote "Tristan
+und Isolde." One day his man, Guido, took a
+day off, and brought to Venice an Italian
+sweetheart, who had lived a few miles from
+the old dream-city and had never visited
+it. The day these two spent gondoliering
+through the waterways, where romance hides
+in every nook, is imaginatively narrated in
+tone in Nevin's suite, "Un Giorno in Venezia,"
+a book more handsomely published even than
+the others of his works, which have been
+among the earliest to throw off the disgraceful
+weeds of type and design formerly worn
+by native compositions.</p>
+
+<p>The Venetian suite gains a distinctly Italian
+color from its ingenuously sweet harmonies
+in thirds and sixths, and its frankly lyric
+nature, and "The Day in Venice" begins
+logically with the dawn, which is ushered <span class="pagenum"><a name="Page_100" id="Page_100">100</a></span>
+in with pink and stealthy harmonies, then
+"The Gondoliers" have a morning mood of
+gaiety that makes a charming composition.
+There is a "Canzone Amorosa" of deep fervor,
+with interjections of "Io t'amo!" and
+"Amore" (which has the excellent authority
+of Beethoven's Sonata, op. 81, with its "Lebe
+wohl"). The suite ends deliciously with a
+night scene in Venice, beginning with a choral
+"Ave Maria," and ending with a campanella
+of the utmost delicacy.</p>
+
+<p>After a year in Venice Nevin made Paris
+his home for a year, returning to America
+then, where he has since remained.</p>
+
+<p>Though he has dabbled somewhat in orchestration,
+he has been wisely devoting his
+genius, with an almost Chopin-like singleness
+of mind, to songs and piano pieces. His
+piano works are what would be called <i>morceaux</i>.
+He has never written a sonata, or
+anything approaching the classical forms,
+nearer than a gavotte or two. He is very <span class="pagenum"><a name="Page_101" id="Page_101">101</a></span>
+modern in his harmonies, the favorite
+colors on his palette being the warmer keys,
+which are constantly blended enharmonically.
+He "swims in a sea of tone," being particularly
+fond of those suspensions and inversions
+in which the intervals of the second clash
+passionately, strongly compelling resolution.
+For all his gracefulness and lyricism, he
+makes a sturdy and constant use of dissonance;
+in his song "<a href="#HERBSTGEFUHL">Herbstgef&uuml;hl</a>" the
+dissonance is fearlessly defiant of conventions.<br /><br /></p>
+
+<div class="musicbox">
+<a name="HERBSTGEFUHL" id="HERBSTGEFUHL"></a>
+
+<p class="center"><br />[<a href="music/herbstgefuhl.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/herbstgefuhl.png" width="700" height="957" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1889, by G. Schirmer, Jr.</b></span><br /><br /></p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="lyrics">
+<tr>
+<td>
+<span style="margin-left: 4em">... Rose</span><br />
+Löset lebenssatt.<br />
+Sich, das letzte lose,<br />
+Bleiche Blumenblatt.<br />
+Goldenes entfärben,<br />
+Schleicht sich durch den Hain,<br />
+Auch vergeh'n und sterben,<br />
+Däucht mir süss zu sein.
+</td>
+<td>
+<span style="margin-left: 4em">... failing,</span><br />
+From the rose unbound,<br />
+Falls, its life exhaling,<br />
+Dead upon the ground.<br />
+Golden colors flying,<br />
+Slant from tree to tree;<br />
+Such release and dying,<br />
+Sweet would seem to me.
+</td>
+</tr>
+</table>
+
+<p class="caption"><br />A FRAGMENT FROM "HERBSTGEFÜHL."<br /><br /></p>
+</div>
+
+<p><br />Nevin's songs, whose only littleness is in
+their length, though treated with notable
+individuality, are founded in principle on the
+<i>Lieder</i> of Schumann and Franz. That is to
+say, they are written with a high poetical
+feeling inspired by the verses they sing, and,
+while melodious enough to justify them as
+lyrics, yet are near enough to impassioned
+recitative to do justice to the words on which
+they are built. Nevin is also an enthusi<span class="pagenum"><a name="Page_103" id="Page_103">103</a></span>astic
+devotee of the position these masters,
+after Schubert, took on the question of the
+accompaniment. This is no longer a slavish
+thumping of a few chords, now and then, to
+keep the voice on the key, with outbursts
+of real expression only at the interludes; but
+it is a free instrumental composition with a
+meaning of its own and an integral value,
+truly accompanying, not merely supporting
+and serving, the voice. Indeed, one of
+Nevin's best songs,&mdash;"Lehn deine Wang an
+meine Wang,"&mdash;is actually little more than
+a vocal accompaniment to a piano solo. His
+accompaniments are always richly colored
+and generally individualized with a strong
+contramelody, a descending chromatic scale
+in octaves making an especially frequent
+appearance. Design, though not classical,
+is always present and distinct.</p>
+
+<p>Nevin's first published work was a modest
+"Serenade," with a neat touch of syncopation,
+which he wrote at the age of eighteen. <span class="pagenum"><a name="Page_104" id="Page_104">104</a></span>
+His "Sketch-Book," a collection of thirteen
+songs and piano pieces found an immediate
+and remarkable sale that has removed the
+ban formerly existing over books of native
+compositions.</p>
+
+<p>The contents of the "Sketch-Book" display
+unusual versatility. It opens with a
+bright gavotte, in which adherence to the
+classic spirit compels a certain reminiscence
+of tone. The second piece, a song, "I' the
+Wondrous Month o' May," has such a springtide
+fire and frenzy in the turbulent accompaniment,
+and such a fervent reiterance, that
+it becomes, in my opinion, the best of all the
+settings of this poem of Heine's, not excluding
+even Schumann's or that of Franz. The
+"Love Song," though a piano solo, is in
+reality a duet between two lovers. It is to
+me finer than Henselt's perfect "Liebeslied,"
+possibly because the ravishing sweetness of
+the woman's voice answering the sombre plea
+of the man gives it a double claim on the <span class="pagenum"><a name="Page_105" id="Page_105">105</a></span>
+heart. The setting of "Du bist wie eine
+Blume," however, hardly does justice either
+to Heine's poem, or to Nevin's art. The
+"Serenade" is an original bit of work, but
+the song, "Oh, that We Two were Maying!"
+with a voice in the accompaniment making it
+the duet it should be,&mdash;that song can have
+no higher praise than this, that it is the complete,
+the final musical fulfilment of one of
+the rarest lyrics in our language. A striking
+contrast to the keen white regret of this
+song is the setting of a group of "Children's
+Songs," by Robert Louis Stevenson.
+Nevin's child-songs have a peculiar and
+charming place. He has not been stingy
+of either his abundant art or his abundant
+humanity in writing them. They include
+four of Stevenson's, the best being the captivating
+"In Winter I get up at Night," and a
+setting of Eugene Field's "Little Boy Blue,"
+in which a trumpet figure is used with delicate
+pathos.<span class="pagenum"><a name="Page_106" id="Page_106">106</a></span></p>
+
+<p>Nevin's third opus included three exquisite
+songs of a pastoral nature, Goethe's rollicking
+"One Spring Morning" having an immense
+sale. Opus 5 contained five songs, of which
+the ecstatic "'Twas April" reached the
+largest popularity. Possibly the smallest
+sale was enjoyed by "<a href="#HERBSTGEFUHL">Herbstgef&uuml;hl</a>." Many
+years have not availed to shake my allegiance
+to this song, as one of the noblest songs in the
+world's music. It is to me, in all soberness, as
+great as the greatest of the <i>Lieder</i> of Schubert,
+Schumann or Franz. In "<a href="#HERBSTGEFUHL">Herbstgef&uuml;hl</a>"
+(or "Autumn-mood") Gerok's superb
+poem bewails the death of the leaves and
+the failing of the year, and cries out in
+sympathy:</p>
+
+<p class="cpoems">
+"Such release and dying<br />
+Sweet would seem to me!"<br />
+</p>
+
+<p>Deeper passion and wilder despair could
+not be crowded into so short a song, and the
+whole brief tragedy is wrought with a gran<span class="pagenum"><a name="Page_107" id="Page_107">107</a></span>deur
+ and climax positively epic. It is a flash
+of sheer genius.</p>
+
+<p>Three piano duets make up opus 6; and
+other charming works, songs, piano pieces,
+and violin solos, kept pouring from a pen
+whose apparent ease concealed a vast deal of
+studious labor, until the lucky 13, the opus-number
+of a bundle of "Water Scenes,"
+brought Nevin the greatest popularity of all,
+thanks largely to "Narcissus," which has
+been as much thrummed and whistled as any
+topical song.</p>
+
+<p>Of the other "Water Scenes," there is
+a shimmering "Dragon Fly," a monody,
+"Ophelia," with a pedal-point of two periods
+on the tonic, and a fluent "Barcarolle" with
+a deal of high-colored virtuosity.</p>
+
+<p>His book "In Arcady" (1892) contains
+pastoral scenes, notably an infectious romp
+that deserves its legend, "They danced as
+though they never would grow old." The
+next year his opus 20, "A Book of Songs," <span class="pagenum"><a name="Page_108" id="Page_108">108</a></span>
+was published. It contains, among other
+things of merit, a lullaby, called "Sleep, Little
+Tulip," with a remarkably artistic and effective
+pedal-point on two notes (the submediant
+and the dominant) sustained through the
+entire song with a fine fidelity to the words
+and the lullaby spirit; a "Nocturne" in which
+Nevin has revealed an unsuspected voluptuousness
+in Mr. Aldrich' little lyric, and has
+written a song of irresistible climaxes. The
+two songs, "D&icirc;tes-Moi" and "In der Nacht,"
+each so completely true to the idiom of the
+language of its poem, are typical of Nevin's
+cosmopolitanism, referred to before. This
+same unusual ability is seen in his piano
+pieces as well as in his songs. He knows
+the difference between a <i>chanson</i> and a <i>Lied</i>,
+and in "Rechte Zeit" has written with truth
+to German soldierliness as he has been sympathetic
+with French nuance in "Le Vase
+Bris&eacute;," the effective song "Mon Desire,"
+which in profile suggests Saint-Sa&euml;ns' familiar <span class="pagenum"><a name="Page_109" id="Page_109">109</a></span>
+Delilah-song, the striking "Chanson des
+Lavandi&egrave;res" and "Rapelle-Toi," one of
+Nevin's most elaborate works, in which Alfred
+De Musset's verse is splendidly set with much
+enharmonious color. Very Italian, too, is
+the "Serenade" with accompaniment &agrave; la
+mandolin, which is the most fetching number
+in the suite "Captive Memories," published
+in 1899.</p>
+
+<p>Nevin has also put many an English song
+to music, notably the deeply sincere "At
+Twilight," the strenuous lilt "In a Bower,"
+Bourdillon's beautiful lyric, "Before the Daybreak,"
+the smooth and unhackneyed treatment
+of the difficult stanza of "'Twas April,"
+that popular song, "One Spring Morning,"
+which has not yet had all the charm sung out
+of it, and two songs with obbligati for violin
+and 'cello, "Deep in the Rose's Glowing
+Heart" and "Doris," a song with a finely
+studied accompaniment and an aroma of
+Theokritos.<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span></p>
+
+<p>A suite for the piano is "En Passant,"
+published in 1899; it ranges from a stately
+old dance, "At Fontainebleau," to "Napoli,"
+a furious tarantelle with effective <i>glissandi</i>;
+"In Dreamland" is a most delicious revery
+with an odd repetition that is not preludatory,
+but thematic. The suite ends with the most
+poetic scene of all, "At Home," which makes
+a tone poem of Richard Hovey's word-picture
+of a June night in Washington. The depicting
+of the Southern moonlight-balm, with
+its interlude of a distant and drowsy
+negro quartette, reminds one pleasantly of
+Chopin's Nocturne (op. 37, No. 1), with its
+intermezzo of choric monks, though the
+composition is Nevin's very own in spirit
+and treatment.</p>
+
+<p>In addition to the works catalogued, Nevin
+has written a pantomime for piano and
+orchestra to the libretto of that virtuoso
+in English, Vance Thompson; it was called
+"Lady Floriane's Dream," and was given in <span class="pagenum"><a name="Page_111" id="Page_111">111</a></span>
+New York in 1898. Nevin has also a cantata
+in making.</p>
+
+<p>It needs no very intimate acquaintance
+with Nevin's music to see that it is not based
+on an adoration for counterpoint as an end.
+He believes that true music must come from
+the emotions&mdash;the intelligent emotions&mdash;and
+that when it cannot appeal to the emotions
+it has lost its power. He says: "Above
+everything we need melody&mdash;melody and
+rhythm. Rhythm is the great thing. We
+have it in Nature. The trees sway, and our
+steps keep time, and our very souls respond."
+In Wagner's "Meistersinger," which he calls
+"a symphonic poem with action," Nevin finds
+his musical creed and his model.</p>
+
+<p>And now, if authority is needed for all this
+frankly enthusiastic admiration, let it be found
+in and echoed from Karl Klindworth, who
+said of Nevin: "His talent is <i>ungeheures</i> [one
+of the strongest adjectives in the German
+language]. If he works hard and is conscien<span class="pagenum"><a name="Page_112" id="Page_112">112</a></span>tious,
+ he can say for the musical world something
+that no one else can say."</p>
+
+
+<h3><br /><i>John Philip Sousa.</i></h3>
+
+<p class="center"><br />
+<img src="images/sousaauto.png" width="600" height="456" alt="Autograph of John Philip Sousa" />
+</p>
+
+<p><br />In common with most of those that pretend
+to love serious music, a certain person was
+for long guilty of the pitiful snobbery of
+rating march-tunes as the lowest form of the
+art. But one day he joined a National Guard
+regiment, and his first long march was that <span class="pagenum"><a name="Page_113" id="Page_113">113</a></span>
+heart-breaking dress-parade of about fifteen
+miles through the wind and dust of the day
+Grant's monument was dedicated. Most of
+the music played by the band was merely
+rhythmical embroidery, chiefly in bugle figures,
+as helpful as a Clementi sonatina; but
+now and then there would break forth a
+magic elixir of tune that fairly plucked his
+feet up for him, put marrow in unwilling
+bones, and replaced the dreary doggedness of
+the heart with a great zest for progress, a
+stout martial fire, and a fierce <i>esprit de corps</i>;
+with patriotism indeed. In almost every
+case, that march belonged to one John Philip
+Sousa.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="SOUSA" id="SOUSA"></a>
+<img src="images/sousa.png" width="274" height="400" alt="" />
+</p>
+
+<p class="caption">JOHN PHILIP SOUSA.</p>
+
+<p><br />It came upon this wretch then, that, if it
+is a worthy ambition in a composer to give
+voice to passionate love-ditties, or vague contemplation,
+or the deep despair of a funeral
+cort&egrave;ge, it is also a very great thing to instil
+courage, and furnish an inspiration that will
+send men gladly, proudly, and gloriously <span class="pagenum"><a name="Page_114" id="Page_114">114</a></span>
+through hardships into battle and death.
+This last has been the office of the march-tune,
+and it is as susceptible of structural
+logic or embellishments as the fugue, rondo,
+or what not. These architectural qualities
+Sousa's marches have in high degree, as any
+one will find that examines their scores or
+listens analytically. They have the further
+merit of distinct individuality, and the supreme
+merit of founding a school.</p>
+
+<p>It is only the plain truth to say that
+Sousa's marches have founded a school; that
+he has indeed revolutionized march-music.
+His career resembles that of Johann Strauss
+in many ways. A certain body of old fogies
+has always presumed to deride the rapturous
+waltzes of Strauss, though they have won
+enthusiastic praise from even the esoteric
+Brahms, and gained from Wagner such words
+as these: "One Strauss waltz overshadows,
+in respect to animation, finesse, and real musical
+worth, most of the mechanical, bor<span class="pagenum"><a name="Page_115" id="Page_115">115</a></span>rowed,
+ factory-made products of the present
+time." The same words might be applied to
+Sousa's marches with equal justice. They
+have served also for dance music, and the
+two-step, borne into vogue by Sousa's music,
+has driven the waltz almost into desuetude.</p>
+
+<p>There is probably no composer in the
+world with a popularity equal to that of
+Sousa. Though he sold his "Washington
+Post" march outright for $35, his "Liberty
+Bell" march is said to have brought him
+$35,000. It is found that his music has
+been sold to eighteen thousand bands in the
+United States alone. The amazing thing is
+to learn that there are so many bands in the
+country. Sousa's marches have appeared on
+programs in all parts of the civilized world.
+At the Queen's Jubilee, when the Queen
+stepped forward to begin the grand review
+of the troops, the combined bands of the
+household brigade struck up the "Washington
+Post." On other important occasions it <span class="pagenum"><a name="Page_116" id="Page_116">116</a></span>
+appeared constantly as the chief march of
+the week. General Miles heard the marches
+played in Turkey by the military bands in
+the reviews.</p>
+
+<p>The reason for this overwhelming appeal
+to the hearts of a planet is not far to seek.
+The music is conceived in a spirit of high
+martial zest. It is proud and gay and fierce,
+thrilled and thrilling with triumph. Like all
+great music it is made up of simple elements,
+woven together by a strong personality. It
+is not difficult now to write something that
+sounds more or less like a Sousa march, any
+more than it is difficult to write parodies,
+serious or otherwise, on Beethoven, Mozart,
+or Chopin. The glory of Sousa is that he
+was the first to write in this style; that
+he has made himself a style; that he has so
+stirred the musical world that countless imitations
+have sprung up after him.</p>
+
+<p>The individuality of the Sousa march is
+this, that, unlike most of the other influential <span class="pagenum"><a name="Page_117" id="Page_117">117</a></span>
+marches, it is not so much a musical exhortation
+from without, as a distillation of the essences
+of soldiering from within. Sousa's
+marches are not based upon music-room
+enthusiasms, but on his own wide experiences
+of the feelings of men who march together in
+the open field.</p>
+
+<p>And so his band music expresses all the
+nuances of the military psychology: the exhilaration
+of the long unisonal stride, the
+grip on the musket, the pride in the regimentals
+and the regiment,&mdash;<i>esprit de corps</i>. He
+expresses the inevitable foppery of the severest
+soldier, the tease and the taunt of the
+evolutions, the fierce wish that all this ploying
+and deploying were in the face of an
+actual enemy, the mania to reek upon a tangible
+foe all the joyous energy, the blood-thirst
+of the warrior.</p>
+
+<p>These things Sousa embodies in his music
+as no other music writer ever has. To approach
+Sousa's work in the right mood, the <span class="pagenum"><a name="Page_118" id="Page_118">118</a></span>
+music critic must leave his stuffy concert hall
+and his sober black; he must flee from the
+press, don a uniform, and march. After his
+legs and spirits have grown aweary under the
+metronomic tunes of others, let him note the
+surge of blood in his heart and the rejuvenation
+of all his muscles when the brasses flare
+into a barbaric Sousa march. No man that
+marches can ever feel anything but gratitude
+and homage for Sousa.</p>
+
+<p>Of course he is a trickster at times; admitted
+that he stoops to conquer at times,
+yet in his field he is supreme. He is worthy
+of serious consideration, because his thematic
+material is almost always novel and forceful,
+and his instrumentation full of contrast and
+climax. He is not to be judged by the piano
+versions of his works, because they are abominably
+thin and inadequate, and they are not
+<i>klavierm&auml;ssig</i>. There should be a Liszt or
+a Taussig to transcribe him.</p>
+
+<p>When all's said and done, Sousa is the <span class="pagenum"><a name="Page_119" id="Page_119">119</a></span>
+pulse of the nation, and in war of more
+inspiration and power to our armies than ten
+colonels with ten braw regiments behind them.</p>
+
+<p>Like Strauss', Mr. Sousa's father was a
+musician who forbade his son to devote himself
+to dance music. As Strauss' mother
+enabled him secretly to work out his own
+salvation, so did Sousa's mother help him.
+Sousa's father was a political exile from
+Spain, and earned a precarious livelihood
+by playing a trombone in the very band
+at Washington which later became his son's
+stepping-stone to fame. Sousa was born at
+Washington in 1859. His mother is German,
+and Sousa's music shows the effect
+of Spanish yeast in sturdy German rye bread.
+Sousa's teachers were John Esputa and
+George Felix Benkert. The latter Mr. Sousa
+considers one of the most complete musicians
+this country has ever known. He put him
+through such a thorough theoretical training,
+that at fifteen Sousa was teaching har<span class="pagenum"><a name="Page_120" id="Page_120">120</a></span>mony. At eight he had begun to earn his
+own living as a violin player at a dancing-school,
+and at ten he was a public soloist.
+At sixteen he was the conductor of an orchestra
+in a variety theatre. Two years later he
+was musical director of a travelling company
+in Mr. Milton Nobles' well-known play, "The
+Ph&oelig;nix," for which he composed the incidental
+music. Among other incidents in a
+career of growing importance was a position
+in the orchestra with which Offenbach toured
+this country. At the age of twenty-six, after
+having played, with face blacked, as a negro
+minstrel, after travelling with the late Matt
+Morgan's Living Picture Company, and working
+his way through and above other such
+experiences in the struggle for life, Sousa
+became the leader of the United States
+Marine Band. In the twelve years of his
+leadership he developed this unimportant
+organization into one of the best military
+bands in the world.<span class="pagenum"><a name="Page_121" id="Page_121">121</a></span></p>
+
+<p>In 1892 his leadership had given him such
+fame that he withdrew from the government
+service to take the leadership of the band
+carrying his own name.</p>
+
+<p>A work of enormous industry was his collection
+and arrangement, by governmental
+order, of the national and typical tunes of all
+nations into one volume, an invaluable book
+of reference.</p>
+
+<p>Out of the more than two hundred published
+compositions by Sousa, it is not possible
+to mention many here. Though some of
+the names are not happily chosen, they call
+up many episodes of parade gaiety and jauntiness,
+or warlike fire. The "Liberty Bell,"
+"Directorate," "High School Cadets," "King
+Cotton," "Manhattan Beach," "'Sound Off!'"
+"Washington Post," "Picador," and others,
+are all stirring works; his best, I think, is a
+deeply patriotic march, "The Stars and Stripes
+Forever." The second part of this has some
+brass work of particular originality and vim.<span class="pagenum"><a name="Page_122" id="Page_122">122</a></span></p>
+
+<p>In manuscript are a few works of larger
+form: a symphonic poem, "The Chariot
+Race," an historical scene, "Sheridan's Ride,"
+and two suites, "Three Quotations" and "The
+Last Days of Pompeii."</p>
+
+<p>The "Three Quotations" are:</p>
+
+<div class="blockquot"><p>
+(<i>a</i>) "The King of France, with twenty thousand men,<br />
+<span style="margin-left: 1.5em;">Marched up a hill and then marched down again,"</span>
+</p></div>
+
+<p>which is the motive for a delightful scherzo-march
+of much humor in instrumentation;</p>
+
+<div class="blockquot"><p>(<i>b</i>) "And I, too, was born in Arcadia,"</p></div>
+
+<p>which is a pastorale with delicious touches of
+extreme delicacy;</p>
+
+<div class="blockquot"><p>(<i>c</i>) "In Darkest Africa,"</p></div>
+
+<p>which has a stunning beginning and is a stirring
+grotesque in the negro manner Dv&ocirc;r&aacute;k
+advised Americans to cultivate. All three
+are well arranged for the piano.</p>
+
+<p>The second suite is based on "The Last <span class="pagenum"><a name="Page_123" id="Page_123">123</a></span>
+Days of Pompeii." It opens with a drunken
+revel, "In the House of Burbo and Stratonice;"
+the bulky brutishness of the gladiators
+clamoring for wine, a jolly drinking-song,
+and a dance by a jingling clown make up a
+superbly written number. The second movement
+is named "Nydia," and represents the
+pathetic reveries of the blind girl; it is tender
+and quiet throughout.</p>
+
+<p>The third movement is at once daring and
+masterly. It boldly attacks "The Destruction,"
+and attains real heights of graphic suggestion.
+A long, almost inaudible roll on
+the drums, with occasional thuds, heralds the
+coming of the earthquake; subterranean
+rumblings, sharp rushes of tremor, toppling
+stones, and wild panic are insinuated vividly,
+with no cheap attempts at actual imitation.
+The roaring of the terrified lion is heard, and,
+best touch of all, under the fury of the scene
+persists the calm chant of the Nazarenes,
+written in one of the ancient modes. The <span class="pagenum"><a name="Page_124" id="Page_124">124</a></span>
+rout gives way to the sea-voyage of Glaucus
+and Ione, and Nydia's swan-song dies away
+in the gentle splash of ripples. The work is
+altogether one of superb imagination and
+scholarly achievement.</p>
+
+<p>Sousa, appealing as he does to an audience
+chiefly of the popular sort, makes frequent
+use of devices shocking to the conventional.
+But even in this he is impelled by the enthusiasm
+of an experimenter and a developer.
+Almost every unconventional novelty is hooted
+at in the arts. But the sensationalism of
+to-day is the conservatism of to-morrow, and
+the chief difference between a touch of high
+art and a trick is that the former succeeds
+and the latter does not. Both are likely to
+have a common origin.</p>
+
+<p>The good thing is that Sousa is actuated
+by the spirit of progress and experiment, and
+has carried on the development of the military
+band begun by the late Patrick S. Gilmore.
+Sousa's concert programs devote what <span class="pagenum"><a name="Page_125" id="Page_125">125</a></span>
+is in fact the greater part of their space to
+music by the very best composers. These,
+of course, lose something in being translated
+over to the military band, but their effect in
+raising the popular standard of musical culture
+cannot but be immense. Through such instrumentality
+much of Wagner is as truly
+popular as any music played. The active
+agents of such a result should receive the
+heartiest support from every one sincerely
+interested in turning the people toward the
+best things in music. Incidentally, it is well
+to admit that while a cheap march-tune is
+almost as trashy as an uninspired symphony,
+a good march-tune is one of the best things
+in the best music.</p>
+
+<p>Though chiefly known as a writer of
+marches, in which he has won glory enough
+for the average human ambition, Sousa has
+also taken a large place in American comic
+opera. His first piece, "The Smugglers,"
+was produced in 1879, and scored the usual <span class="pagenum"><a name="Page_126" id="Page_126">126</a></span>
+failure of a first work. His "Katherine"
+was never produced, his "Desir&eacute;e" was
+brought out in 1884 by the McCaull Opera
+Company, and his "Queen of Hearts," a one-act
+piece, was given two years later. He
+forsook opera then for ten years; but in 1896
+De Wolf Hopper produced his "<a href="#EL_CAPITAN">El Capitan</a>"
+with great success.</p>
+
+<p>The chief tune of the piece was a march
+used with Meyerbeerian effectiveness to bring
+down the curtain. The stout verve of this
+"<a href="#EL_CAPITAN">El Capitan</a>" march gave it a large vogue
+outside the opera. Hopper next produced
+"The Charlatan," a work bordering upon
+op&eacute;ra comique in its first version. Both of
+these works scored even larger success in
+London than at home.<br /><br /></p>
+
+<div class="musicbox">
+<a name="EL_CAPITAN" id="EL_CAPITAN"></a>
+
+<p class="center"><br />[<a href="music/elcapitan.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/elcapitan.png" width="700" height="1062" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Used by permission of the John Church Company, owners of the
+copyright.</b></span></p>
+
+<p class="caption"><br />A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA.<br /><br /></p>
+</div>
+
+<p><br />In "The Bride Elect," Sousa wrote his
+own libretto, and while there was the usual
+stirring march as the pi&egrave;ce de resistance, the
+work as a whole was less clangorous of the
+cymbal than the operas of many a tamer com<span class="pagenum"><a name="Page_128" id="Page_128">128</a></span>poser.
+In "Chris and the Wonderful Lamp,"
+an extravaganza, the chief ensemble was
+worked up from a previous march, "Hands
+Across the Sea."</p>
+
+<p>But Sousa can write other things than
+marches, and his scoring is full of variety,
+freedom, and contrapuntal brilliance.</p>
+
+
+<h3><br /><i>Henry Schoenefeld.</i></h3>
+
+<p>Long before Dv&ocirc;r&aacute;k discovered America,
+we aboriginals had been trying to invent a
+national musical dialect which should identify
+us as completely to the foreigner as our nasal
+intonation and our fondness for the correct
+and venerable use of the word "guess." But
+Dv&ocirc;r&aacute;k is to credit for taking the problem
+off the shelf, and persuading our composers
+to think. I cannot coax myself into the
+enthusiasm some have felt for Dv&ocirc;r&aacute;k's own
+explorations in darkest Africa. His quartette
+(op. 96) and his "New World" symphony are <span class="pagenum"><a name="Page_129" id="Page_129">129</a></span>
+about as full of accent and infidelity as Mlle.
+Yvette Guilbert's picturesque efforts to sing
+in English. But almost anything is better
+than the phlegm that says, "The old ways are
+good enough for all time;" and the Bohemian
+missionary must always hold a place in the
+chronicle of American music.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="HENRY_SCHOENEFELD" id="HENRY_SCHOENEFELD"></a>
+<img src="images/schoenefeld.png" width="274" height="400" alt="" />
+</p>
+
+<p class="caption">HENRY SCHOENEFELD.</p>
+
+<p><br />A disciple of Dv&ocirc;r&aacute;k's, both in advance and
+in retrospect, is Henry Schoenefeld, who
+wrote a characteristic suite (op. 15) before the
+Dv&ocirc;r&aacute;kian invasion, and an overture, "In the
+Sunny South," afterward. The suite, which
+has been played frequently abroad, winning
+the praises of Hanslick, Nicod&eacute;, and Rubinstein,
+is scored for string orchestra. It opens
+with an overly reminiscent waltz-tune, and
+ends conventionally, but it contains a movement
+in negro-tone that gives it importance.
+In this the strings are abetted by a tambourine,
+a triangle, and a gong. It is in march-time,
+and, after a staccato prelude, begins
+with a catchy air taken by the second violins, <span class="pagenum"><a name="Page_130" id="Page_130">130</a></span>
+while the firsts, divided, fill up the chords.
+A slower theme follows in the tonic major;
+it is a jollificational air, dancing from the first
+violins with a bright use of harmonics. Two
+periods of loud chorale appear with the gong
+clanging (to hint a church-bell, perhaps). The
+first two themes return and end the picture.</p>
+
+<p>The overture (op. 22) has won the high
+esteem of A.J. Goodrich, and it seems to
+me to be one of the most important of native
+works, not because of its nigrescence, but
+because of its spontaneity therein. It adds
+to the usual instruments only the piccolo,
+the English horn, the tambourine, and triangle
+and cymbals. The slow introduction
+gives forth an original theme in the most
+approved and most fetching darky pattern.
+The strings announce it, and the wood replies.
+The flutes and clarinets toss it in a
+blanket furnished by an interesting passage
+in the 'cellos and contrabasses. There is a
+choral moment from the English horn, the <span class="pagenum"><a name="Page_131" id="Page_131">131</a></span>
+bassoons, and a clarinet. This solemn thought
+keeps recurring parenthetically through the
+general gaiety. The first subject clatters in,
+the second is even more jubilant. In the
+development a dance <i>misterioso</i> is used with
+faithful screaming repetitions, and the work
+ends regularly and brilliantly. There is much
+syncopation, though nothing that is strictly
+in "rag-time;" banjo-figurations are freely
+and ingeniously employed, and the whole is
+a splendid fiction in local color. Schoenefeld's
+negroes do not speak Bohemian.</p>
+
+<p>His determined nationalism is responsible
+for his festival overture, "The American
+Flag," based on his own setting of Rodman
+Drake's familiar poem. The work opens
+with the hymn blaring loudly from the antiphonal
+brass and wood. The subjects are
+taken from it with much thematic skill, and
+handled artfully, but the hymn, which appears
+in full force for coda, is as trite as the
+most of its kith.<span class="pagenum"><a name="Page_132" id="Page_132">132</a></span></p>
+
+<p>Schoenefeld was born in Milwaukee, in
+1857. His father was a musician, and his
+teacher for some years. At the age of seventeen
+Schoenefeld went to Leipzig, where he
+spent three years, studying under Reinecke,
+Coccius, Papperitz, and Grill. A large choral
+and orchestral work was awarded a prize over
+many competitors, and performed at the
+Gewandhaus concerts, the composer conducting.
+Thereafter he went to Weimar, where
+he studied under Edward Lassen.</p>
+
+<p>In 1879 he came back to America, and
+took up his residence in Chicago, where he
+has since lived as a teacher, orchestra leader,
+and composer. He has for many years
+directed the Germania M&auml;nnerchor.</p>
+
+<p>Schoenefeld's "Rural Symphony" was
+awarded the $500 prize offered by the
+National Conservatory. Dv&ocirc;r&aacute;k was the
+chairman of the Committee on Award, and
+gave Schoenefeld hearty compliments. Later
+works are: "Die drei Indianer," an ode for <span class="pagenum"><a name="Page_133" id="Page_133">133</a></span>
+male chorus, solo, and orchestra; a most
+beautiful "Air" for orchestra (the air being
+taken by most of the strings,&mdash;the first violins
+haunting the G string,&mdash;while a harp
+and three flutes carry the burden of the accompaniment
+gracefully); a pleasant "Reverie"
+for string orchestra, harp, and organ;
+and two impromptus for string orchestra, a
+"Meditation" representing Cordelia brooding
+tenderly over the slumbering King Lear,&mdash;art
+ministering very tenderly to the mood,&mdash;and
+a cleverly woven "Valse Noble."</p>
+
+<p>Only a few of Schoenefeld's works are published,
+all of them piano pieces. It is no slur
+upon his orchestral glory to say that these
+are for the most part unimportant, except
+the excellent "Impromptu" and "Prelude."
+Of the eight numbers in "The Festival," for
+children, only the "Mazurka" is likely to
+make even the smallest child think. The
+"Kleine Tanz Suite" is better. The six
+children's pieces of opus 41, "Mysteries of <span class="pagenum"><a name="Page_134" id="Page_134">134</a></span>
+the Wood," make considerable appeal to the
+fancy and imagination, and are highly interesting.
+They show Grieg's influence very
+plainly, and are quite worth recommending.
+This cannot be said of his most inelegant
+"Valse &Eacute;l&eacute;gante," or of his numerous dances,
+except, perhaps, his "Valse Caprice."</p>
+
+<p>He won in July, 1899, the prize offered to
+American composers by Henri Marteau, for a
+sonata for violin and piano. The jury was composed
+of such men as Dubois, Piern&eacute;, Diemer,
+and Pugno. The sonata is <i>quasi fantasia</i>, and
+begins strongly with an evident intention to
+make use of negro-tone. The first subject is
+so vigorously declared that one is surprised
+to find that it is elastic enough to express a
+sweet pathos and a deep gloom. It is rather
+fully developed before the second subject
+enters; this, on the other hand, is hardly
+insinuated in its relative major before the
+rather inelaborate elaboration begins. In the
+romanza, syncopation and imitation are much <span class="pagenum"><a name="Page_135" id="Page_135">135</a></span>
+relied on, though the general atmosphere
+is that of a nocturne, a trio of dance-like
+manner breaking in. The final rondo combines
+a clog with a choral intermezzo. The
+work is noteworthy for its deep sincerity and
+great lyric beauty.</p>
+
+
+<h3><br /><i>Maurice Arnold.</i></h3>
+
+<p>The plantation dances of Maurice Arnold
+have an intrinsic interest quite aside from
+their intrinsic value. Arnold, whose full
+name is Maurice Arnold-Strothotte, was born
+in St. Louis in 1865. His mother was a
+prominent pianist and gave him his first lessons
+in music. At the age of fifteen he
+went to Cincinnati, studying at the College of
+Music for three years. In 1883 he went to
+Germany to study counterpoint and composition
+with Vierling and Urban in Berlin. The
+latter discouraged him when he attempted to
+imbue a suite with a negro plantation spirit.<span class="pagenum"><a name="Page_136" id="Page_136">136</a></span></p>
+
+<p>Arnold now went upon a tramping tour in
+Hungary, Bulgaria, and Turkey. Some of
+his compositions show the influence of his
+journey. He then entered the Cologne Conservatory,
+studying under Wuellner, Neitzel,
+and G. Jensen. His first piano sonata was
+performed there at a public concert. He
+next went to Breslau, where, under the instruction
+of Max Bruch, he wrote his cantata,
+"The Wild Chase," and gave public performance
+to other orchestral work. Returning
+now to St. Louis, he busied himself as solo
+violinist and teacher, travelling also as a conductor
+of opera companies. When Dv&ocirc;r&aacute;k
+came here Arnold wrote his "Plantation
+Dances," which were produced in a concert
+under the auspices of the Bohemian composer.
+Arnold was instructor of harmony at
+the National Conservatory under Dv&ocirc;r&aacute;k.</p>
+
+<p>The "Plantation Dances" are Arnold's
+thirty-third opus, and they have been much
+played by orchestras; they are also published <span class="pagenum"><a name="Page_137" id="Page_137">137</a></span>
+as a piano duet; the second dance also as a
+solo. Arnold has not made direct use of
+Ethiopian themes, but has sought the African
+spirit. The first of the dances is very
+nigresque; the second hardly at all, though
+it is a delicious piece of music; the third
+dance uses banjo figures and realizes darky
+hilarity in fine style; the fourth is a cake
+walk and hits off the droll humor of that
+pompous ceremony fascinatingly.</p>
+
+<p>Arnold's "Dramatic Overture" shows a fire
+and rush very characteristic of him and
+likely to be kept up without sufficient contrast.
+So also does his cantata, "The Wild
+Chase." Arnold has written two comic
+operas. I have heard parts of the first and
+noted moments of much beauty and humor.
+The Aragonaise, which opens the third act,
+is particularly delightful. The orchestration
+throughout displays Arnold's characteristic
+studiousness in picturesque effect.</p>
+
+<p>For piano there is a czardas, and a "Valse <span class="pagenum"><a name="Page_138" id="Page_138">138</a></span>
+&Eacute;l&eacute;gante" for eight hands; it is more Viennese
+than Chopinesque. It might indeed be
+called a practicable waltz lavishly adorned.
+The fruits of Arnold's Oriental journey are
+seen in his impressionistic "Danse de la Midway
+Plaisance;" a very clever reminiscence of
+a Turkish minstrel; and a Turkish march,
+which has been played by many German
+orchestras. There is a "Caprice Espagnol,"
+which is delightful, and a "Banjo&euml;nne," which
+treats banjo music so captivatingly that
+Arnold may be said to have invented a new
+and fertile and musical form. Besides these
+there are a fugue for eight hands, a "Minstrel
+Serenade" for violin and piano, and six
+duets for violin and viola.</p>
+
+<p>There are also a few part songs and some
+solos, among which mention should be made
+of "Ein M&auml;rlein," in the old German style,
+an exquisitely tender "Barcarolle," and a
+setting of the poem, "I Think of Thee in
+Silent Night," which makes use of a particu<span class="pagenum"><a name="Page_139" id="Page_139">139</a></span>larly
+ beautiful phrase for pre-, inter-, and
+postlude. Arnold has also written some
+ballet music, a tarantelle for string orchestra,
+and is at work upon a symphony, and a
+book, "Some Points in Modern Orchestration."
+His violin sonata (now in MS.) shows
+his original talent at its best. In the first
+movement, the first subject is a snappy and
+taking example of negro-tone, the second has
+the perfume of moonlit magnolia in its lyricism.
+(In the reprise this subject, which had
+originally appeared in the dominant major,
+recurs in the tonic major, the key of the sonata
+being E minor.) The second movement
+is also in the darky spirit, but full of melancholy.
+For finale the composer has flown
+to Ireland and written a bully jig full of dash
+and spirit.</p>
+
+
+<h3><br /><i>N. Clifford Page.</i></h3>
+
+<p>The influence of Japanese and Chinese art
+upon our world of decoration has long been <span class="pagenum"><a name="Page_140" id="Page_140">140</a></span>
+realized. After considering the amount of
+interest shown in the Celestial music by
+American composers, one is tempted to
+prophesy a decided influence in this line, and
+a considerable spread of Japanese influence
+in the world of music also. Japanese music
+has a decorative effect that is sometimes
+almost as captivating as in painting.</p>
+
+<p>The city of San Francisco is the natural
+gateway for any such impulse, and not a
+little of it has already passed the custom
+house. In this field Edgar S. Kelley's influence
+is predominating, and it is not surprising
+that he should pass the contagion on to
+his pupil, Nathaniel Clifford Page, who was
+born in San Francisco, October 26, 1866.
+His ancestors were American for many years
+prior to the Revolution. He composed operas
+at the age of twelve, and has used many of
+these immature ideas with advantage in the
+later years. He began the serious study of
+music at the age of sixteen, Kelley being his <span class="pagenum"><a name="Page_141" id="Page_141">141</a></span>
+principal teacher. His first opera, composed
+and orchestrated before he became of age,
+was entitled "The First Lieutenant." It
+was produced in 1889 at the Tivoli Opera
+House in San Francisco, where most of the
+critics spoke highly of its instrumental and
+Oriental color, some of the scenes being laid
+in Morocco.</p>
+
+<p>In instrumentation, which is considered
+Page's forte, he has never had any instruction
+further than his own reading and investigation.
+He began to conduct in opera and
+concert early in life, and has had much
+experience. He has also been active as a
+teacher in harmony and orchestration.</p>
+
+<p>An important phase of Page's writing has
+been incidental music for plays, his greatest
+success having been achieved by the music
+for the "Moonlight Blossom," a play based
+upon Japanese life and produced in London
+in 1898. The overture was written entirely
+on actual Japanese themes, including the <span class="pagenum"><a name="Page_142" id="Page_142">142</a></span>
+national anthem of Japan. Page was three
+weeks writing these twelve measures. He
+had a Japanese fiddle arranged with a violin
+finger-board, but thanks to the highly characteristic
+stubbornness of orchestral players, he
+was compelled to have this part played by a
+mandolin. Two Japanese drums, a whistle
+used by a Japanese shampooer, and a Japanese
+guitar were somehow permitted to add their
+accent. The national air is used in augmentation
+later as the bass for a Japanese song
+called "K Honen." The fidelity of the
+music is proved by the fact that Sir Edwin
+Arnold's Japanese wife recognized the various
+airs and was carried away by the national
+anthem.</p>
+
+<p>Although the play was not a success, the
+music was given a cordial reception, and
+brought Page contracts for other work in
+England, including a play of Indian life by
+Mrs. Flora Annie Steel.</p>
+
+<p>Previously to the writing of the "Moon<span class="pagenum"><a name="Page_143" id="Page_143">143</a></span>light
+Blossom" music, Page had arranged the
+incidental music for the same author's play,
+"The Cat and the Cherub." Edgar S.
+Kelley's "Aladdin" music was the source
+from which most of the incidental music
+was drawn; but Page added some things
+of his own, among them being one of the
+most effective and unexpected devices for
+producing a sense of horror and dread I
+have ever listened to: simply the sounding
+at long intervals of two gruff single tones
+in the extreme low register of the double
+basses and bassoons. The grimness of this
+effect is indescribable.</p>
+
+<p>An unnamed Oriental opera, and an opera
+called "Villiers," in which old English color
+is employed (including a grotesque dance of
+the clumsy Ironsides), show the cosmopolitan
+restlessness of Page's muse. An appalling
+scheme of self-amusement is seen in his
+"Caprice," in which a theme of eight measures'
+length is instrumented with almost every <span class="pagenum"><a name="Page_144" id="Page_144">144</a></span>
+ contrapuntal device known, and with psychological
+variety that runs through five movements,
+scherzando, vigoroso, con sentimento,
+religioso, and a marcia fantastico. The suite
+called "Village F&ecirc;te" is an experiment in
+French local color. It contains five scenes:
+The Peasants Going to Chapel; The Flower
+Girls; The Vagabonds; The Tryst; The
+Sabot Dance, and the Entrance of the
+Mayor, which is a pompous march.</p>
+
+<p><a name="On" id="On"></a>On the occasion of a performance of this,
+Louis Arthur Russell wrote: "His orchestra
+is surely French, and as modern as you
+please. The idiom is Berlioz's rather than
+Wagner's."</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_145" id="Page_145">145</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<h3>THE ACADEMICS.</h3>
+
+<h3><br /><i>John Knowles Paine.</i></h3>
+
+<p class="center"><br />
+<a name="PAINE_autograph" id="PAINE_autograph"></a>
+<img src="images/paineauto.png" width="600" height="356" alt="Autograph of John Knowles Paine" />
+</p>
+
+<p><br /><span class="smcap">There</span> is one thing better than modernity,&mdash;it
+is immortality. So while I am a most
+ardent devotee of modern movements, because
+they are at worst experiments, and
+motion is necessary to life, I fail to see why <span class="pagenum"><a name="Page_146" id="Page_146">146</a></span>
+it is necessary in picking up something new
+always to drop something old, as if one were
+an awkward, butter-fingered parcel-carrier.</p>
+
+<p>If a composer writes empty stuff in the
+latest styles, he is one degree better than
+the purveyor of trite stuff in the old styles;
+but he is nobody before the high thinker who
+finds himself suited by the general methods
+of the classic writers.</p>
+
+<p>The most classic of our composers is their
+venerable dean, John Knowles Paine. It is
+an interesting proof of the youth of our native
+school of music, that the principal symphony,
+"Spring," of our first composer of importance,
+was written only twenty-one years ago.
+Before Mr. Paine there had never been an
+American music writer worthy of serious
+consideration in the larger forms.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="JOHN_KNOWLES_PAINE" id="JOHN_KNOWLES_PAINE"></a>
+<img src="images/paine.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">JOHN KNOWLES PAINE.</p>
+
+<p><br />By a mere coincidence Joachim Raff had
+written a symphony called "Spring" in
+1878, just a year before Paine finished his
+in America. The first movement in both is <span class="pagenum"><a name="Page_147" id="Page_147">147</a></span>
+called "Nature's Awakening;" such an idea
+is inevitable in any spring composition, from
+poetry up&mdash;or down. For a second movement
+Raff has a wild "Walpurgis Night
+Revel," while Paine has a scherzo called
+"May Night Fantasy." Where Raff is
+uncanny and fiendish, Paine is cheerful
+and elfin. The third movement of Raff's
+symphony is called "First Blossoms of
+Spring," and the last is called "The Joys
+of Wandering." The latter two movements
+of Mr. Paine's symphony are "A Promise of
+Spring" and "The Glory of Nature." The
+beginning of both symphonies is, of course,
+a slow introduction representing the torpid
+gloom of winter, out of which spring aspires
+and ascends.</p>
+
+<p>Paine's symphony, though aiming to shape
+the molten gold of April fervor in the rigid
+mold of the symphonic form, has escaped
+every appearance of mechanism and restraint.
+It is program music of the most legiti<span class="pagenum"><a name="Page_148" id="Page_148">148</a></span>mate
+ sort, in full accord with Beethoven's
+canon, "Mehr Ausdruck der Empfindung als
+Malerei." It has no aim of imitating springtime
+noises, but seeks to stimulate by suggestion
+the hearer's creative imagination, and
+provoke by a musical telepathy the emotions
+that swayed the nympholept composer.</p>
+
+<div class="blockquot"><p>The first movement of the symphony has an introduction
+containing two motives distinct from the two
+subjects of the movement. These motives represent
+Winter and the Awakening. The Winter motive
+may be again divided into a chill and icy motif
+and a rushing wind-motif. Through these the timid
+Awakening spirit lifts its head like the first trillium
+of the year. There is a silence and a stealthy flutter
+of the violins as if a cloud of birds were playing
+courier to the Spring.</p>
+
+<p>Suddenly, after a little prelude, as if a bluebird
+were tuning his throat, we are enveloped in the key
+of the symphony (A major) and the Spring runs lilting
+up the 'cellos to the violins (which are divided in
+the na&iuml;f archaic interval of the tenth, too much ignored
+in our over-colored harmonies). The second
+subject is propounded by the oboes (in the rather
+unusual related key of the submediant). This is a <span class="pagenum"><a name="Page_149" id="Page_149">149</a></span>
+lyrical and dancing idea, and it does battle with the
+underground resistance of the Winter motives. There
+is an elaborate conclusion of fiercest joy. Its ecstasy
+droops, and after a little flutter as of little wings, the
+elaboration opens with the Spring motive in the minor.
+In this part, scholarship revels in its own luxury, the
+birds quiver about our heads again, and the reprise
+begins (in A major of course) with new exultance, the
+dancing second subject appears (in the tonic), overwhelming
+the failing strength of the Winter with a
+cascade of delight. Then the conclusion rushes in;
+this I consider one of the most joyous themes ever
+inspired.</p>
+
+<p>There is a coda of vanishing bird-wings and throats,
+a pizzicato chord on the strings&mdash;and Spring has had
+her coronation.</p>
+
+<p>"The May Night Fantasy" is a moonlit revel of
+elves caught by a musical reporter, a surreptitious
+"chiel amang 'em takin' notes." A single hobgoblin
+bassoon croaks ludicrously away, the pixies darkle
+and flirt and dance their hearts out of them.</p>
+
+<p>The Romance is in rondo form with love-lorn
+iteration of themes and intermezzo, and deftest
+broidery, the whole ending, after a graceful Recollection,
+in a bliss of harmony.</p>
+
+<p>The Finale is a halleluiah. It is on the sonata
+formula, without introduction (the second subject
+being not in the dominant of A major, but in C <span class="pagenum"><a name="Page_150" id="Page_150">150</a></span>
+major, that chaste, frank key which one of the popes
+strangely dubbed "lascivious"). The elaboration is
+frenetic with strife, but the reprise is a many-hued
+rainbow after storm, and the coda in A major (ending
+a symphony begun in A minor) is swift with delight.</p></div>
+
+<p>This symphony has been played much, but
+not half enough. It should resist the weariness
+of time as immortally as Fletcher's play,
+"The Two Noble Kinsmen" (in which Shakespeare's
+hand is glorious), for it is, to quote
+that drama, "fresher than May, sweeter
+than her gold buttons on the bough, or all
+th'enamell'd knacks o' the mead or garden."</p>
+
+<p>John Knowles Paine is a name that has
+been held in long and high honor among
+American composers. He was about the
+earliest of native writers to convince foreign
+musicians that some good could come out of
+Nazareth.</p>
+
+<p>He was born in Portland, Me., January 9,
+1839. He studied music first under a local
+teacher, Kotzschmar, making his d&eacute;but as <span class="pagenum"><a name="Page_151" id="Page_151">151</a></span>
+organist at the age of eighteen. A year later
+he was in Berlin, where for three years he
+studied the organ, composition, instrumentation,
+and singing under Haupt, Wieprecht, and
+others. He gave several organ concerts in
+Germany, and made a tour in 1865-1866.
+In February, 1867, his "Mass" was given at
+the Berlin Singakademie, Paine conducting.
+Then he came back to the States, and in
+1872 was appointed to an instructorship of
+music at Harvard, whence he was promoted
+in 1876 to a full professorship, a chair created
+for him and occupied by him ever since with
+distinguished success.</p>
+
+<p>His first symphony was brought out by
+Theodore Thomas in 1876. This and his
+other orchestral works have been frequently
+performed at various places in this country
+and abroad.</p>
+
+<p>His only oratorio, "St. Peter," was first
+produced at Portland in 1873, and in Boston
+a year later. It is a work of great power and <span class="pagenum"><a name="Page_152" id="Page_152">152</a></span>
+much dramatic strength. Upton, in his
+valuable work, "Standard Oratorios," calls
+it "from the highest standpoint the only
+oratorio yet produced in this country."</p>
+
+<p>This oratorio, while containing much of
+the floridity and repetition of H&auml;ndel at his
+worst, is also marked with the erudition and
+largeness of H&auml;ndel at his best. The aria
+for St. Peter, "O God, My God, Forsake Me
+Not," is especially fine.</p>
+
+<p>A much-played symphonic poem is Paine's
+"The Tempest," which develops musically
+the chief episodes of Shakespeare's play.
+He has also written a valuable overture to
+"As You Like It;" he has set Keats' "Realm
+of Fancy" exquisitely, and Milton's "Nativity."
+And he has written a grand opera
+on a medi&aelig;val theme to his own libretto.
+This is a three-act work called "Azara;"
+the libretto has been published by the Riverside
+Press, and is to be translated into German.
+This has not yet been performed. Being, <span class="pagenum"><a name="Page_153" id="Page_153">153</a></span>
+unfortunately, an American grand opera, it
+takes very little acuteness of foresight to
+predict a long wait before it is ever heard.
+In it Paine has shown himself more a romanticist
+than a classicist, and the work is said
+to be full of modernity.</p>
+
+<p>Paine wrote the music for Whittier's
+"Hymn," used to open the Centennial Exposition
+at Philadelphia, and was fitly chosen
+to write the Columbus March and Hymn for
+the opening ceremonies of the World's Fair,
+at Chicago, October 21, 1892. This was
+given by several thousand performers under
+the direction of Theodore Thomas.</p>
+
+<p>A most original and interesting work is
+the chorus, "Ph&oelig;bus, Arise." It seems good
+to hark back for words to old William Drummond
+"of Hawthornden." The exquisite
+flavor of long-since that marks the poetry is
+conserved in the tune. While markedly
+original, it smacks agreeably of the music of
+Harry Lawes, that nightingale of the seven<span class="pagenum"><a name="Page_154" id="Page_154">154</a></span>teenth
+ century, whose fancies are too much
+neglected nowadays.</p>
+
+<p>Paine's strong point is his climaxes, which
+are never timid, and are often positively
+titanic, thrilling. The climax of this chorus
+is notably superb, and the voices hold for two
+measures after the orchestra finishes. The
+power of this effect can be easily imagined.
+This work is marked, to an unusual extent,
+with a sensuousness of color.</p>
+
+<p>The year eighteen hundred eighty-one saw
+the first production of what is generally
+considered Paine's most important composition,
+and by some called the best
+work by an American,&mdash;his setting of the
+choruses of the "&OElig;dipus Tyrannus" of
+Sophokles. It was written for the presentation
+by Harvard University, and has been
+sung, in whole or in part, very frequently
+since. This masterpiece of Grecian genius
+is so mighty in conception and so mighty in
+execution that it has not lost power at all in <span class="pagenum"><a name="Page_155" id="Page_155">155</a></span>
+the long centuries since it first thrilled the
+Greeks. To realize its possibilities musically
+is to give proof enough of the very highest
+order of genius,&mdash;a genius akin to that of
+Sophokles. It may be said that in general
+Paine has completely fulfilled his opportunities.</p>
+
+<p>Mendelssohn also set two Greek tragedies
+to music, Sophokles' "&OElig;dipus in Kolonos"
+and his "Antigone." Mendelssohn is reported
+to have made a first attempt at
+writing Grecian music, or what we suppose
+it to be, mainly a matter of unison and meagre
+instrumentation. He was soon dissuaded
+from such a step, however, and wisely. The
+Greek tragedians, really writers of grand
+opera, made undoubted use of the best
+musical implements and knowledge they had.
+Creative emotion has its prosperity in the
+minds of its audience, not in the accuracy of
+its mechanism. To secure the effect on us
+that the Greek tragedians produced on con<span class="pagenum"><a name="Page_156" id="Page_156">156</a></span>temporary
+audiences, it is necessary that our
+music be a sublimation along the lines we are
+accustomed to, as theirs was along lines
+familiar to them and effective with them.
+Otherwise, instead of being moved by the
+miseries of &OElig;dipus, we should be chiefly
+occupied with amusement at the oddity of
+the music, and soon bored unendurably by
+its monotony and thinness.</p>
+
+<p>Mendelssohn decided then to use unison
+frequently for suggestion's sake, but not to
+carry it to a fault. His experiments along
+these lines have been of evident advantage to
+Paine, who has, however, kept strictly to his
+own individuality, and produced a work that,
+at its highest, reaches a higher plane, in my
+opinion, than anything in Mendelssohn's noble
+tragedies,&mdash;and I am not, at that, one of
+those that affect to look down upon the
+achievements of the genius that built "Elijah."</p>
+
+<p>Paine's prelude is an immense piece of <span class="pagenum"><a name="Page_157" id="Page_157">157</a></span>
+work, in every way larger and more elaborate
+than that to Mendelssohn's "Antigone"
+(the "&OElig;dipus in Kolonos" begins strongly
+with only one period of thirteen measures).
+The opening chorus of Paine's "&OElig;dipus" is
+the weakest thing in the work. The second
+strophe has a few good moments, but soon
+falls back into what is impudent enough to
+be actually catchy!&mdash;and that, too, of a
+Lowell Mason, Moody and Sankey catchiness.
+Curiously enough, Mendelssohn's
+"Antigone" begins with a chorus more
+like a drinking-song than anything else, and
+the first solo is pure <i>Volkslied</i>; both of them
+imbued with a Teutonic flavor that could be
+cut with a knife. In Mendelssohn's "&OElig;dipus
+in Kolonos," however, the music expresses
+emotion rather than German emotion, and
+abounds in splendors of harmony that are
+strikingly Wagnerian&mdash;in advance.<br /><br /></p>
+
+<div class="musicbox">
+<a name="OEDIPUS" id="OEDIPUS"></a>
+
+<p class="center"><br />[<a href="music/oedipus.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/oedipus01.png" width="700" height="1084" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/oedipus02.png" width="700" height="1086" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1895, by Arthur P. Schmidt.</b></span></p>
+
+<p class="caption"><br />POSTLUDE TO "&OElig;DIPUS TYRANNUS," BY J.K. PAINE.<br /><br /></p>
+</div>
+
+<p><br />Paine's second chorus describes the imaginary
+pursuit by Fate of the murderer of<span class="pagenum"><a name="Page_160" id="Page_160">160</a></span>
+King Laius. It is full of grim fire, and the
+second strophe is at first simply terrible with
+awe. Then it degenerates somewhat into an
+arioso, almost Italian. The fourth chorus
+defends the oracles from Jocasta's incredulity.
+It is written almost in march measure, and is
+full of robor.</p>
+
+<p>At this point in the tragedy, where it begins
+to transpire to &OElig;dipus that he himself
+was the unwitting murderer and the incestuous
+wretch whose exile the oracle demands
+before dispelling the plague,&mdash;here the divine
+genius of Sophokles introduces a chorus of
+general merriment, somewhat as Shakespeare
+uses the maundering fool as a foil to heighten
+King Lear's fate. No praise can be too high
+for Paine's music here. Its choric structure
+is masterly, its spirit is running fire. Note,
+as an instance, the effect at the words "To
+save our land thou didst rise as a tower!"
+where the music itself is suddenly uplift with
+most effective suggestion.<span class="pagenum"><a name="Page_161" id="Page_161">161</a></span></p>
+
+<p>The sixth chorus shows the effect of
+&OElig;dipus' divulged guilt and the misery of this
+fool of Fate. The music is an outburst of
+sheer genius. It is overpowering, frightening.
+The postlude is orchestral, with the
+chorus speaking above the music. Jocasta
+has hanged herself, &OElig;dipus has torn out his
+own eyes with her brooch. The music is a
+fitting reverie on the great play, and after a
+wild tumult it subsides in a resigned quietude.</p>
+
+<p>From Greek tragedy to Yankee patriotism
+is a long cry, yet I think Paine has not wasted
+his abilities on his "Song of Promise," written
+for the Cincinnati May Festival of 1888.
+Though the poem by Mr. George E. Woodberry
+is the very apotheosis of American
+brag, it has a redeeming technic. The music,
+for soprano solo, mixed chorus, and orchestra,
+reaches the very peaks of inspiration. I
+doubt if any living composer or many dead
+masters could grow so epic, as most of this.
+In a way it is academic. It shows a little of <span class="pagenum"><a name="Page_162" id="Page_162">162</a></span>
+the influence of Wagner,&mdash;as any decent
+music should nowadays. But it is not
+Wagner's music, and it is not trite academia.
+There is no finicky tinsel and no cheap
+oddity.</p>
+
+<p>Considering the heights at which both
+words and music aimed, it is amazing that
+they did not fall into utter wreck and nauseating
+bathos. That they have proved so
+effective shows the sure-footedness of genius.
+It is all good, especially the soprano solo.</p>
+
+<p>This music is exquisite, wondrously exquisite,
+and it is followed by a maestoso e solenne
+movement of unsurpassable majesty. I have
+never read anything more purely what music
+should be for grandeur. And it praises our
+ain countree! It might well be taken up by
+some of our countless vocal societies to give
+a much needed respite to H&auml;ndel's threadbare
+"Messiah."</p>
+
+<p>When one considers the largeness of the
+works to which Paine has devoted himself <span class="pagenum"><a name="Page_163" id="Page_163">163</a></span>
+chiefly, he can be excused for the meagreness
+and comparative unimportance of his smaller
+works for piano and vocal solo. The only
+song of his I care for particularly is "A Bird
+upon a Rosy Bough" (op. 40), which is old-fashioned,
+especially in accompaniment, yet
+at times delicious. The song "Early Spring-time"
+is most curiously original.</p>
+
+<p>Of piano pieces there are a sprightly
+"Birthday Impromptu" and a fuga giocosa,
+which deals wittily with that theme known
+generally by the words "Over the Fence Is
+Out!" The "Nocturne" begins like Schumann,
+falls into the style of his second Novellette,
+thence to the largo of Beethoven's
+Sonata (op. 10, No. 3), thence to Chopinism,
+wherein it ends, an interesting assemblage
+withal!</p>
+
+<p>A long "Romance" for the piano is
+marked by some excellent incidents and
+much passion, but it lacks unity. It is the
+last work in "An Album of Pianoforte <span class="pagenum"><a name="Page_164" id="Page_164">164</a></span>
+Pieces," which is otherwise full of rare delights.
+It is made up of opera 25, 26, and 39.
+Opus 25 contains four characteristic pieces,&mdash;a
+"Dance" full of dance-rapture, a most
+original "Impromptu," and a "Rondo Giocoso,"
+which is just the kind of brilliantly
+witty scherzo whose infrequency in American
+music is so lamentable and so surprising.
+Opus 26 includes ten sketches, all good, especially
+"Woodnotes," a charming tone-poem,
+the deliciously simple "Wayside Flowers,"
+"Under the Lindens," which is a masterpiece
+of beautiful syncopation, a refreshingly interesting
+bit in the hackneyed "Millstream"
+form, and a "Village Dance," which has
+much of that quaint flavor that makes Heller's
+&eacute;tudes a perennial delight.</p>
+
+<p>Besides these, there are a number of
+motets, organ preludes, string quartettes, concert
+pieces for violin, 'cello, piano, and the
+like, all contributing to the furtherance of
+an august fame.<span class="pagenum"><a name="Page_165" id="Page_165">165</a></span></p>
+
+
+<h3><br /><i>Dudley Buck.</i></h3>
+
+<p>Music follows the laws of supply and demand
+just as the other necessities of life do.
+But before a demand could exist for it in its
+more austere and unadulterated forms, the
+general taste for it must be improved. For
+this purpose the offices of skilful compromisers
+were required, composers who could at
+the same time please the popular taste and
+teach it discrimination. Among these invaluable
+workers, a high place belongs, in point
+both of priority and achievement, to Dudley
+Buck. He has been a powerful agent, or
+reagent, in converting the stagnant ferment
+into a live and wholesome ebullition, or as
+the old Greek evolutionists would say, starting
+the first progress in the primeval ooze of
+American Philistinism.</p>
+
+<p>A more thoroughly New England ancestry
+it would be hard to find. The founder of
+the family came over from England soon <span class="pagenum"><a name="Page_166" id="Page_166">166</a></span>
+after the <i>Mayflower</i> landed. Buck was
+named after Governor Dudley of the Plymouth
+Colony. He was born at Hartford,
+March 10, 1839. His father was a prosperous
+shipping merchant, one of whose boats,
+during the Civil War, towed the <i>Monitor</i>
+from New York to Fortress Monroe on the
+momentous voyage that destroyed the <i>Merrimac's</i>
+usefulness.</p>
+
+<p>Buck, though intended for commercial life,
+borrowed a work on thorough-bass and a flute
+and proceeded to try the wings of his muse.
+A melodeon supplanted the flute, and when
+he was sixteen he attained the glory of a
+piano, a rare possession in those times.
+(Would that it were rarer now!) He
+took a few lessons and played a church-organ
+for a salary,&mdash;a small thing, but his
+own.</p>
+
+<p>After reaching the junior year in Trinity
+College, he prevailed upon his parents to surrender
+him to music, an almost scandalous <span class="pagenum"><a name="Page_167" id="Page_167">167</a></span>
+career in the New England mind of that day,
+still unbleached of its Blue Laws.</p>
+
+<p>At the age of nineteen he went to Leipzig
+and entered the Conservatory there, studying
+composition under Hauptmann and E.F.
+Richter, orchestration under Rietz, and the
+piano under Moscheles and Plaidy. Later he
+went to Dresden and studied the organ with
+Schneider.</p>
+
+<p>After three years in Germany, he studied
+for a year in Paris, and came home, settling
+down in Hartford as church-organist and
+teacher. He began a series of organ-concert
+tours lasting fifteen years. He played in
+almost every important city and in many
+small towns, popularizing the best music by
+that happy fervor of interpretation which
+alone is needed to bring classical compositions
+home to the public heart. In 1869 he
+was called to the "mother-church" of Chicago.
+In the Chicago fire he lost many valuable
+manuscripts, including a concert overture on <span class="pagenum"><a name="Page_168" id="Page_168">168</a></span>
+Drake's exquisite poem, "The Culprit Fay,"
+which must be especially regretted. He
+moved his family to Boston, assuming in ten
+days the position of organist at St. Paul's;
+and later he accepted charge of "the great
+organ" at Music Hall,&mdash;that organ of which
+Artemus Ward wrote so deliciously.</p>
+
+<p>In 1875 Theodore Thomas, whose orchestra
+had performed many of Buck's compositions,
+invited him to become his assistant conductor
+at the Cincinnati Music Festival and at the
+last series of concerts at the Central Park
+Garden in New York. Buck accepted and
+made his home in Brooklyn, where he has
+since remained as organist of the Holy Trinity
+Church, and conductor of the Apollo Club,
+which he founded and brought to a high state
+of efficiency, writing for it many of his numerous
+compositions for male voices.</p>
+
+<p>Buck's close association with church work
+has naturally led him chiefly into sacred
+music, and in this class of composition he <span class="pagenum"><a name="Page_169" id="Page_169">169</a></span>
+is by many authorities accorded the very
+highest place among American composers.
+He has also written many organ solos, sonatas,
+marches, a pastorale, a rondo caprice,
+and many concert transcriptions, as well as a
+group of &eacute;tudes for pedal phrasing, and several
+important treatises on various musical
+topics. His two "Motett Collections" were
+a refreshing relief and inspiration to church
+choirs thirsty for religious Protestant music
+of some depth and warmth.</p>
+
+<p>In the cantata form Buck also holds a foremost
+place. In 1876 he was honored with
+a commission to set to music "The Centennial
+Meditation of Columbia," a poem written
+for the occasion by the Southern poet, Sidney
+Lanier. This was performed at the opening
+of the Philadelphia Exhibition by a chorus of
+one thousand voices, an organ, and an orchestra
+of two hundred pieces under the direction
+of Theodore Thomas. In 1874 he made a
+metrical version of "The Legend of Don <span class="pagenum"><a name="Page_170" id="Page_170">170</a></span>
+Munio" from Irving's "Alhambra," and set
+it to music for a small orchestra and chorus.
+Its adaptability to the resources of the vocal
+societies of smaller cities has made it one of
+his most popular works.</p>
+
+<p>Another bit of Washington Irving is found
+in Buck's cantata, "The Voyage of Columbus,"
+the libretto for which he has taken
+from Irving's "Life of Columbus." It consists
+of six night-scenes,&mdash;"The Chapel of
+St. George at Palos," "On the Deck of the
+<i>Santa Maria</i>," "The Vesper Hymn," "Mutiny,"
+"In Distant Andalusia," and "Land
+and Thanksgiving." The opportunities here
+for Buck's skilful handling of choruses and
+his dramatic feeling in solos are obvious, and
+the work has been frequently used both in
+this country and in Germany with much success.
+Buck, in fact, made the German libretto
+as well as the English, and has written the
+words for many of his compositions. His
+largest work was "The Light of Asia," com<span class="pagenum"><a name="Page_171" id="Page_171">171</a></span>posed
+ in 1885 and based on Sir Edwin
+Arnold's epic. It requires two and one-half
+hours for performance and has met the usual
+success of Buck's music; it was produced
+in London with such soloists as Nordica,
+Lloyd, and Santley. It has been occasionally
+given here.</p>
+
+<p>He has found the greater part of his texts
+in American poetry, particularly in Lanier,
+Stedman, and Longfellow, whose "King Olaf's
+Christmas" and "Nun of Nidaros" he has
+set to music, as well as his "Golden Legend,"
+which won a prize of one thousand dollars at
+the Cincinnati Festival in a large competition.
+His work is analyzed very fully in A.J.
+Goodrich' "Musical Analysis."<br /><br /></p>
+
+<div class="musicbox">
+<a name="SPRINGS" id="SPRINGS"></a>
+
+<p class="center"><br />[<a href="music/springs.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/springs.png" width="700" height="1091" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1893, by G. Schirmer.</b></span></p>
+
+<p class="cpoem"><br />
+High in the purer air,<br />
+High as the heart's desire,<br />
+In a passion of longing and fire,<br />
+A bird sings sweet and fair;<br />
+While a sunbeam, cheery and strong,<br />
+Answers the joy of the song,<br />
+And Spring, fair Spring is coming!
+</p>
+
+<p class="caption"><br />FRAGMENT FROM "SPRING'S AWAKENING," BY MR. BUCK.<br /><br /></p>
+</div>
+
+<p><br />Here, as in his symphonic overture to
+Scott's "Marmion," Buck has adopted the
+Wagnerian idea of the <i>leit-motif</i> as a vivid
+means of distinguishing musically the various
+characters and their varying emotions. His
+music is not markedly Wagnerian, however,<span class="pagenum"><a name="Page_173" id="Page_173">173</a></span>
+in other ways, but seems to show, back of
+his individuality, an assimilation of the good
+old school of canon and fugue, with an Italian
+tendency to the declamatory and well-rounded
+melodic period.</p>
+
+<p>It might be wished that in his occasional
+secular songs Buck had followed less in the
+steps of the Italian aria and the English ballad
+and adopted more of the newer, nobler
+spirit of the <i>Lied</i> as Schumann and Franz
+represent it, and as many of our younger
+Americans have done with thorough success
+and not a little of exaltation. Note for
+instance the inadequacy of the old-style
+balladry to both its own opportunity and
+the otherwise-smothered fire of such a poem
+as Sidney Lanier's "Sunset," which is positively
+Shakespearean in its passionate perfection.</p>
+
+<p>In religious music, however, Mr. Buck has
+made a niche of its own for his music, which
+it occupies with grace and dignity.<span class="pagenum"><a name="Page_174" id="Page_174">174</a></span></p>
+
+
+<h3><br /><i>Horatio W. Parker.</i></h3>
+
+<p class="center"><br />
+<img src="images/parkerauto.png" width="600" height="307" alt="Autograph of Horatio W. Parker" />
+</p>
+
+<p><br />When one considers the enormous space
+occupied by the hymn-tune in New England
+musical activity, it is small wonder that most
+of its composers should display hymnal proclivities.
+Both Buck and Parker are natives
+of New England.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="HORATIO_W_PARKER" id="HORATIO_W_PARKER"></a>
+<img src="images/parker.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">HORATIO W. PARKER.</p>
+
+<p><br />Parker was born, September 15, 1863, at
+Auburndale, Mass. His mother was his
+first teacher of music. She was an organist,
+and gave him a thorough technical schooling
+which won the highest commendation later
+from Rheinberger, who entrusted to him the
+first performance of a new organ concerto.
+<span class="pagenum"><a name="Page_175" id="Page_175">175</a></span>
+After some study in Boston under Stephen
+A. Emery, John Orth, and G.W. Chadwick,
+Parker went to Munich at the age of eighteen,
+where he came under the special favor of
+Rheinberger, and where various compositions
+were performed by the Royal Music School
+orchestra. After three years of Europe, he
+returned to America and assumed the direction
+of the music at St. Paul's school. He
+has held various posts since, and has been,
+since 1894, the Battell Professor of Music at
+Yale.</p>
+
+<p>His rather imposing list of works includes
+a symphony (1885), an operetta, a concert
+overture (1884), an overture, "Regulus"
+(1885), performed in Munich and in London,
+and an overture, "Count Robert of Paris"
+(1890), performed in New York, a ballad for
+chorus and orchestra, "King Trojan," presented
+in Munich in 1885, the Twenty-third
+Psalm for female chorus and orchestra (1884),
+an "Idylle" (1891); "The Normans," "The <span class="pagenum"><a name="Page_176" id="Page_176">176</a></span>
+Kobolds," and "Harold Harfager," all for chorus and orchestra, and
+all dated 1891; an oratorio, three or more cantatas, and various bits of
+chamber-music. His opus number has already reached forty-three, and it
+is eked out to a very small degree by such imponderous works as organ
+and piano solos, hymns, and songs. In 1893, Parker won the National
+Conservatory prize for a cantata, and in 1898 the McCagg prize for an a
+cappella chorus.</p>
+
+<p>Parker's piano compositions and secular songs are not numerous. They
+seem rather the incidental byplays and recreations of a fanry chiefly
+turned to sacred music of the larger forms.</p>
+
+<p>Opus 19 consists of "Four Sketches," of which the "Étude Melodieuse" is
+as good as is necessary in that overworked style, wherein a thin melody
+is set about with a thinner ripple of arpeggios. The "Romanza" is lyric
+and delightful, while the "Scherzino"<span class="pagenum"><a name="Page_177" id="Page_177">177</a></span>
+ is delicious and crisp as celery; it is worthy of Schumann, whom it suggests, and many of whose cool tones
+and mannerisms it borrows.</p>
+
+<p>The "5 Morceaux Charactéristiques" are on the whole better. The
+"Scherzo" is shimmering with playfulness, and, in the Beethoven fashion,
+has a tender intermezzo amoroso. This seriousness is enforced with an
+ending of a most plaintive nature. The "Caprice" is brilliant and
+whimsical, with some odd effects in accent. The "Gavotte" makes unusual
+employment of triplets, but lacks the precious yeast of enthusiasm
+necessary to a prime gavotte.</p>
+
+<p>This enthusiasm is not lacking however from his "Impromptu," and it
+makes his "Elégie" a masterly work, possibly his best in the smaller
+lines. This piece is altogether elegiac in spirit, intense in its
+sombrest depths, impatient with wild outcries,&mdash;like Chopin's "Funeral
+March,"&mdash;and working <span class="pagenum"><a name="Page_178" id="Page_178">178</a></span>
+up to an immense passion at the end. This
+subsides in ravishingly liquid arpeggios,&mdash;"melodious
+tears"?&mdash;which obtain the kindred
+effect of Chopin's tinkling "Berceuse"
+in a slightly different way. This notable
+work is marred by an interlude in which the
+left hand mumbles harshness in the bass,
+while the right hand is busy with airy fioriture.
+It is too close a copy of the finish of
+the first movement of Beethoven's "Moonlight"
+sonata. The lengthening skips of the
+left hand are also Beethovenesque trademarks.</p>
+
+<p>Parker is rather old-fashioned in his forms
+of musical speech. That is, he has what you
+might call the narrative style. He follows
+his theme as an absorbing plot, engaging
+enough in itself, without gorgeous digressions
+and pendent pictures. His work has something
+of the Italian method. A melody or a
+theme, he seems to think, is only marred by
+abstruse harmony, and is endangered by <span class="pagenum"><a name="Page_179" id="Page_179">179</a></span>
+diversions. One might almost say that a
+uniform lack of attention to color-possibilities
+and a monotonous fidelity to a cool, gray
+tone characterize him. His fondness for the
+plain, cold octave is notable. It is emphasized
+by the ill-success of his "Six Lyrics for
+Piano, without octaves." They are all of
+thin value, and the "Novelette" is dangerously
+Schumannesque.</p>
+
+<p>The "Three Love Songs" are happy,
+"Love's Chase" keeping up the arch raillery
+and whim of Beddoe's verse. "Orsame's
+Song" is smooth and graceful, ending with a
+well-blurted, abrupt "The devil take her!"
+The "<a href="#JULIA">Night-piece to Julia</a>" is notable. We
+have no poet whose lyrics are harder to set
+to music than good Robin Herrick's. They
+have a lilt of their own that is incompatible
+with ordinary music. Parker has, however,
+been completely successful in this instance.
+A mysterious, night-like carillon accompaniment,
+delicate as harebells, gives sudden way
+<span class="pagenum"><a name="Page_181" id="Page_181">181</a></span>
+to a superb support of a powerful outburst at
+the end of the song.<br /><br /></p>
+
+<div class="musicbox">
+<a name="JULIA" id="JULIA"></a>
+
+<p class="center"><br />[<a href="music/julia.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/julia.png" width="700" height="1200" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1886, by Arthur P. Schmidt &amp; Co.</b></span></p>
+
+<p class="cpoem"><br />
+The stars of the night<br />
+Will lend thee their light,<br />
+Like tapers without number.<br />
+Then, Julia let me woo thee,<br />
+Thus to come unto me;<br />
+And when I shall meet<br />
+Thy silvery feet<br />
+My soul I'll pour into thee,<br />
+My soul I'll pour into thee, into thee.
+</p>
+
+<p class="caption"><br />FRAGMENT OF MR. PARKER'S SONG, "NIGHT-PIECE TO JULIA."<br /><br /></p>
+</div>
+
+<p><br />The "Six Songs" show not a little of that
+modernity and opulent color I have denied
+to the most of Mr. Parker's work. "Oh,
+Ask Me Not" is nothing less than inspiration,
+rapturously beautiful, with a rich use
+of unexpected intervals. The "Egyptian
+Serenade" is both novel and beautiful. The
+other songs are good; even the comic-operatic
+flavor of the "Cavalry Song" is redeemed
+by its catchy sweep.</p>
+
+<p>Among a large number of works for the
+pipe-organ, few are so marked by that purposeless
+rambling organists are so prone to,
+as the "Fantaisie." The "Melody and Intermezzo"
+of opus 20 makes a sprightly humoresque.
+The "Andante Religioso" of opus 17
+has really an allegretto effect, and is much
+better as a gay pastorale than as a devotional
+exercise. It is much more shepherdly than
+the avowed "Pastorale" (opus 20), and almost <span class="pagenum"><a name="Page_182" id="Page_182">182</a></span>
+as much so as the "Eclogue," delicious with
+the organ's possibilities for reed and pipe
+effects. The "Romanza" is a gem of the
+first water. A charming quaint effect is got
+by the accompaniment of the air, played legato
+on the swell, with an echo, staccato, of its
+own chords on the great. The interlude is
+a tender melody, beautifully managed. The
+two "Concert Pieces" are marked by a large
+simplicity in treatment, and have this rare
+merit, that they are less gymnastic exercises
+than expressions of feeling. A fiery "Triumphal
+March," a delightful "Canzonetta," and
+a noble "Larghetto," of sombre, yet rich and
+well-modulated, colors, complete the list of
+his works for the organ. None of these are
+registered with over-elaboration.</p>
+
+<p>To sacred music Parker has made important
+contributions. Besides a dignified, yet impassioned,
+complete "Morning and Evening
+Service for the Holy Communion," he has
+written several single songs and anthems.
+<span class="pagenum"><a name="Page_183" id="Page_183">183</a></span></p>
+
+<p>It is the masterwork, "Hora Novissima,"
+however, which lifts him above golden mediocrity.
+From the three thousand lines of
+Bernard of Cluny's poem, "De Contemptu
+Mundi," famous since the twelfth century,
+and made music with the mellowness of its
+own Latin rhyme, Mrs. Isabella G. Parker,
+the composer's mother, has translated 210
+lines. The English is hardly more than a
+loose paraphrase, as this random parallel
+proves:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="pars mea translation">
+<tr><td>Pars mea, Rex meus,</td><td><span style="margin-left: 2em;">Most Mighty, most Holy,</span></td></tr>
+<tr><td>In proprio Deus,</td><td><span style="margin-left: 2em;">How great is the glory,</span></td></tr>
+<tr><td><span style="margin-left: 1em;">Ipse decore.</span></td><td><span style="margin-left: 3em;">Thy throne enfolding.</span></td></tr>
+</table>
+
+<p>Or this skilful evasion:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="tunc jacob translation">
+<tr><td>Tunc Jacob, Israel,</td><td><span style="margin-left: 2em;">All the long history,</span></td></tr>
+<tr><td>Et Lia, tunc Rachel</td><td><span style="margin-left: 2em;">All the deep mystery</span></td></tr>
+<tr><td><span style="margin-left: 1em;">Efficietur.</span></td><td><span style="margin-left: 3em;">Through ages hidden.</span></td></tr>
+</table>
+
+<p>But it is perhaps better for avoiding the
+Charybdis of literalness.</p>
+
+<p>Those who accuse Rossini's "Stabat <span class="pagenum"><a name="Page_184" id="Page_184">184</a></span>
+Mater" of a fervor more theatric than religious,
+will find the same faults in Parker's
+work, along with much that is purely ecclesiastical.
+Though his sorrow is apt to become
+petulance, there is much that is as big in
+spirit as in handling. The work is frequently
+Mendelssohnian in treatment. An archaism
+that might have been spared, since so little
+of the poem was retained, is the sad old
+H&auml;ndelian style of repeating the same words
+indefinitely, to all neglect of emptiness of
+meaning and triteness. Thus the words
+"<i>Pars mea, Rex meus</i>" are repeated by the
+alto exactly thirteen times! which, any one
+will admit, is an unlucky number, especially
+since the other voices keep tossing the same
+unlucky words in a musical battledore.</p>
+
+<p>The especially good numbers of the work
+(which was composed in 1892, and first produced,
+with almost sensational success, in
+1893) are: the magnificent opening chorus;
+the solo for the soprano; the large and fiery <span class="pagenum"><a name="Page_185" id="Page_185">185</a></span>
+finale to Part I.; the superb tenor solo,
+"Golden Jerusalem," which is possibly the
+most original and thrilling of all the numbers,
+is, in every way, well varied, elaborated, and
+intensified, and prepares well for the massive
+and effective double chorus, "Stant Syon
+Atria," an imposing structure whose ambition
+found skill sufficing; an alto solo of original
+qualities; and a finale, tremendous, though
+somewhat long drawn out. Of this work, so
+careful a critic as W.J. Henderson was
+moved to write:</p>
+
+<div class="blockquot"><p>"His melodic ideas are not only plentiful, but
+they are beautiful, ... graceful and sometimes
+splendidly vigorous.... There is an a cappella
+chorus which is one of the finest specimens of
+pure church polyphony that has been produced in
+recent years.... It might have been written by
+Hobrecht, Brumel, or even Josquin des Pres. It is
+impossible to write higher praise than this.... The
+orchestration is extraordinarily ... rich. As
+a whole ... the composition ... may be set
+down as one of the finest achievements of the
+present day."</p></div>
+
+<p><span class="pagenum"><a name="Page_186" id="Page_186">186</a></span>And Philip Hale, a most discriminant
+musical enthusiast, described the chorus "Pars Mea" as:</p>
+
+<div class="blockquot"><p>"A masterpiece, true music of the church," to
+which "any acknowledged master of composition in
+Europe would gladly sign his name.... For the
+a cappella chorus there is nothing but unbounded
+praise.... Weighing words as counters, I do not
+hesitate to say that I know of no one in the country
+or in England who could by nature and by student's
+sweat have written those eleven pages.... I have
+spoken of Mr. Parker's quasi-operatic tendency.
+Now he is a modern. He has shown in this very
+work his appreciation and his mastery of antique
+religious musical art. But as a modern he is compelled
+to feel the force of the dramatic in religious
+music.... But his most far-reaching, his most
+exalted and rapt conception of the bliss beyond
+compare is expressed in the language of Palestrina
+and Bach."</p></div>
+
+<p>In September, 1899, the work was produced
+with decisive success in London,
+Parker conducting.</p>
+
+<p>Besides this, there are several secular <span class="pagenum"><a name="Page_187" id="Page_187">187</a></span>
+cantatas, particularly "King Trojan," which
+contains a singable tune for Trojan with
+many delicate nuances in the accompaniment,
+and a harp-accompanied page's song that is
+simply ambrosial. Then there is Arlo Bates'
+poem, "The Kobolds," which Parker has
+blessed with music as delicate as the laces of
+gossamer-spiders.</p>
+
+<p>His latest work is devoted to the legend
+of St. Christopher, and displays the same
+abilities for massive and complex scoring
+whenever the opportunity offers. On the
+other hand, the work discloses Parker's weaknesses
+as well, for the libretto drags in certain
+love episodes evidently thought desirable for
+the sake of contrast and yet manifestly unnecessary
+to the story. The character of
+the queen, for instance, is quite useless, and,
+in fact, disconcerting. The love scene between
+the king and queen reminds one
+uncomfortably of Tristan and Isolde, while
+a descending scale constantly used throughout <span class="pagenum"><a name="Page_188" id="Page_188">188</a></span>
+the work in the accompaniment incessantly
+suggests the "Samson and Delilah" of
+Saint-Sa&euml;ns.</p>
+
+<p>In spite of flaws, however,&mdash;flaws are
+to be had everywhere for the looking,&mdash;Parker's
+work has its fine points. The
+struggle between the demons and the singers
+of the sacred Latin Hymn has made excellent
+use of the Tannh&auml;user effect. The Cathedral
+scene shows Parker's resources in the massive
+use of choruses to be very large. The barcarolling
+billows of the river are ravishingly
+written, and the voice of the child crying out
+is effectively introduced. The song the giant
+Christopher sings through the storm is particularly
+superb.</p>
+
+
+<h3><br /><i>Frank van der Stucken.</i></h3>
+
+<p class="border" style="text-align: center"><br />
+<a name="FRANK_VAN_DER_STUCKEN" id="FRANK_VAN_DER_STUCKEN"></a>
+<img src="images/stucken.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">FRANK VAN DER STUCKEN.</p>
+
+<p><br />On the bead-roll of those who have had
+both the ability and the courage to take a
+stand for our music, the name of Frank van <span class="pagenum"><a name="Page_189" id="Page_189">189</a></span>
+der Stucken must stand high. His Americanism
+is very frail, so far as birth and breeding
+count, but he has won his naturalization
+by his ardor for native music.</p>
+
+<p>Van der Stucken's life has been full of
+labors and honors. He was born at Fredericksburg,
+Texas, in 1858, of a Belgian
+father and a German mother. After the
+Civil War, in which the father served in
+the Confederate army as a captain of the
+Texan cavalry, the family returned to Belgium,
+where, at Antwerp, Van der Stucken
+studied under Benoit. Here some of his
+music was played in the churches, and a
+ballet at the Royal Theatre.</p>
+
+<p>In 1878 he began studies in Leipzig, making
+important acquaintances, such as Reinecke,
+Grieg, and Sinding. His first male
+chorus was sung there, with great success.
+Of his fifth opus, consisting of nine songs,
+Edvard Grieg wrote an enthusiastic criticism.
+After travelling for some time, Van <span class="pagenum"><a name="Page_190" id="Page_190">190</a></span>
+der Stucken was appointed kapellmeister at
+the Breslau Stadt-Theatre. This was his
+d&eacute;but as conductor. Here he composed his
+well-known suite on Shakespeare's "Tempest,"
+which has been performed abroad and
+here. Here, also, he wrote a "Festzug," an
+important work in Wagnerian style, and his
+passionate "Pagina d'Amore," which, with
+the published portions of his lyric drama,
+"Vlasda," has been performed by many
+great orchestras.</p>
+
+<p>In 1883, Van der Stucken met Liszt, at
+Weimar, and under his auspices gave a concert
+of his own compositions, winning the
+congratulations of Grieg, Lassen, Liszt, and
+many other celebrated musicians. A prominent
+German critic headed his review of the
+performance: "A new star on the musical
+firmament."</p>
+
+<p>Van der Stucken was now called to the
+directorship of the famous Arion Male Chorus
+in New York, a position which he held for <span class="pagenum"><a name="Page_191" id="Page_191">191</a></span>
+eleven years with remarkable results. In
+1892 he took his chorus on a tour in Europe
+and won superlative praises everywhere.</p>
+
+<p>In 1885 and successive years Van der
+Stucken conducted orchestral "Novelty Concerts,"
+which have an historical importance
+as giving the first hearing to symphonic
+works by American composers. In Berlin
+and in Paris he also gave our musicians the
+privilege of public performance. From 1891
+to 1894 he devoted himself to reforming
+the Northeastern S&auml;engerbund, achieving the
+enormous task of making five thousand male
+voices sing difficult music artistically. Since
+1895 Van der Stucken has been conductor
+of the newly formed Cincinnati Symphony
+Orchestra, as well as dean of the faculty of
+the College of Music in that city. The influence
+of this man, who is certainly one of
+the most important musicians of his time, is
+bringing Cincinnati back to its old musical
+prestige.<span class="pagenum"><a name="Page_192" id="Page_192">192</a></span></p>
+
+<p>As a composer, Van der Stucken shows
+the same originality and power that characterize
+him as an organizer. His prelude to
+the opera "Vlasda" (op. 9) is one long
+rapture of passionate sweetness, superbly
+instrumented. An arrangement of it has
+been made for the piano for four hands by
+Horatio W. Parker.</p>
+
+<p>Van der Stucken's music to "The Tempest"
+(op. 8) is published in three forms.
+Besides the orchestral score, there is an
+arrangement for piano solo, by A. Siloti,
+of the "Dance of the Gnomes," "Dance of
+the Nymphs," and "Dance of the Reapers,"
+the first and third being especially well
+transcribed. For four hands, Hans Sitt
+has arranged these three dances, as well as
+a short but rich "Exorcism," some splendid
+melodramatic music, and the rattling grotesque,
+"The Hound-chase after Caliban."
+All these pieces are finely imagined and
+artistically handled.<span class="pagenum"><a name="Page_193" id="Page_193">193</a></span></p>
+
+<p>For piano solo, there is a group of three
+Miniatures (op. 7). The first is an Albumblatt
+of curious dun colors; the second is a
+Capriccietto, a strange whim; the third is a
+beautiful bit called "May Blossom."</p>
+
+<p>Of Van der Stucken's songs I have seen
+two groups, the first a setting of five love
+lyrics by R&uuml;ckert. None of these are over
+two pages long, except the last. They are
+written in the best modern <i>Lied</i> style, and
+are quite unhackneyed. It is always the unexpected
+that happens, though this unexpected
+thing almost always proves to be a
+right thing. Without any sense of strain or
+bombast he reaches superb climaxes; without
+eccentricity he is individual; and his
+songs are truly interpreters of the words
+they express. Of these five, "Wann die
+Rosen aufgebl&uuml;ht" is a wonderfully fine
+and fiery work; "<a href="#STUNDE">Die Stunde sei gesegnet</a>"
+has one of the most beautiful endings imaginable;
+"Mir ist, nun ich die habe" has a deep
+<span class="pagenum"><a name="Page_195" id="Page_195">195</a></span>
+significance in much simplicity, and its ending,
+by breaking the rule against consecutive
+octaves, attains, as rule-breakings have an
+unpleasant habit of doing, an excellent effect.
+"Liebste, nur dich seh'n" is a passionate
+lyric; and "Wenn die V&ouml;glein sich gepaart"
+is florid and trilly, but legitimately so; it
+should find much concert use. These songs,
+indeed, are all more than melodies; they are
+expressions.<br /><br /></p>
+
+<div class="musicbox">
+<a name="STUNDE" id="STUNDE"></a>
+
+<p class="center"><br />[<a href="music/diestunde.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/stunde.png" width="700" height="1113" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1892, by Friedrich Luckhardt, Berlin.</b></span><br />
+<span style="margin-left: 3em"><b>By permission of Luckhardt &amp; Belder, New York.</b></span></p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="lyrics">
+<tr>
+<td>
+Der Stunde sei geflucht,<br />
+wo ich dein Herz gesucht,<br />
+wenn in dir diese Liebe<br />
+statt milder Freudentriebe<br />
+soll tragen herbe Frucht!<br />
+Gesegnet ist die Stunde,<br />
+sprach sie mit süssem Munde,<br />
+mir ist kein Leid geschehn<br />
+den Himmel fühl' ich stehn<br />
+in meines Herzens Grunde.
+</td>
+<td>
+That hour with curse be fraught,<br />
+In which thy heart I sought,<br />
+If I, in love bestowing,<br />
+Instead of gladness knowing,<br />
+A bitter grief have bought:<br />
+"My soul that hour e'er blesses,"<br />
+A rosy mouth confesses,<br />
+"Thy love is all I crave,<br />
+Then heav'n itself I have<br />
+Within my heart's recesses."
+</td>
+</tr>
+</table>
+
+<p class="caption"><br />FRAGMENT OF MR. VAN DER STUCKEN'S "DIE STUNDE SEI GESEGNET."<br /><br /></p>
+</div>
+
+<p><br />Of the second group of eight songs for
+low voice, "O Jugendlust" is athrill with
+young ecstasy; "Einsame Thr&auml;ne" has
+superb coloring, all sombre, and a tremendous
+climax; "Seeligkeit" is big with
+emotion and ravishing in harmony, "Ein
+Sch&auml;ferlied" is exquisite, "Von sch&ouml;n Sicilien
+war mein Traum" begins in the style
+of Lassen, but ends with a strength and
+vigor far beyond that tender melodist. Besides
+these groups, there is a rich lyric
+"Moonlight;" and there are many part songs.
+<span class="pagenum"><a name="Page_196" id="Page_196">196</a></span></p>
+
+<p>A work of considerable importance written
+many years before and presented by Franz
+Liszt at Weimar had its first American production
+in 1899, at Cincinnati and New York.
+It is a symphonic prologue to Heine's tragedy,
+"William Ratcliff." The different psychological
+phases of the tragedy are presented
+by characteristic motives which war among
+themselves. The Scottish locale is indicated
+vividly, and the despair of the lovers presented
+in one place by the distortion and
+rending of all the principal motives. A dirge
+with bells and a final musing upon, and resignation
+before, implacable Fate give a dignified
+close to a work in which passion is
+exploited with erudition and modernity.</p>
+
+
+<h3><br /><i>W.W. Gilchrist.</i></h3>
+
+<p>The prize competition has its evils, unquestionably;
+and, in a place of settled
+status, perhaps, they outnumber its benefits. <span class="pagenum"><a name="Page_197" id="Page_197">197</a></span>
+But in American music it has been of material
+encouragement to the production of large
+works. In the first place, those who do not
+win have been stimulated to action, and have
+at least their effort for their pains. In the
+second place, those who manage to win are
+several hundred dollars the richer, and may
+offer the wolf at the door a more effective
+bribe than empty-stomached song.</p>
+
+<p>In the city of Philadelphia lives a composer
+of unusual luck in prize-winning. That
+large and ancient town is not noteworthy for
+its activity in the manufacture of original
+music. In fact, some one has spoken of it
+as "a town where the greatest reproach to
+a musician is residence there." The city's
+one prominent music-writer is William Wallace
+Gilchrist; but he stands among the first
+of our composers. He is especially interesting
+as a purely native product, having never
+studied abroad, and yet having won among
+our composers a foremost place in the larger <span class="pagenum"><a name="Page_198" id="Page_198">198</a></span>
+forms of composition. He was born in Jersey
+City, January 8, 1846; his father was a
+Canadian, his mother a native of this country;
+both were skilled in music, and his
+home life was full of it, especially of the old
+church music. After a youth of the usual
+school life he tried various pursuits,&mdash;photography,
+law, business; but music kept
+calling him. A good barytone voice led him
+to join vocal societies, and at length he made
+music his profession, after studying voice,
+organ, and composition with Dr. H.A.
+Clarke, of Philadelphia. He was a successful
+soloist in oratorio for some years, but
+gradually devoted himself to church work
+and conducting, and to composition, though
+none of his music was published till he was
+thirty-two, when he took two prizes offered
+by the Abt Male Singing Society of Philadelphia.</p>
+
+<p>Shortly after taking the Abt Society prize,
+he won three offered by the Mendelssohn <span class="pagenum"><a name="Page_199" id="Page_199">199</a></span>
+Glee Club of New York, and in 1884 he took
+the $1,000 prize offered by the Cincinnati
+Festival Association.</p>
+
+<p>This last was gained by his setting of the
+Forty-sixth Psalm for soprano solo, chorus,
+and orchestra. The overture opens with a
+noble andante contemplatif, which deserves its
+epithet, but falls after a time into rather uninteresting
+moods, whence it breaks only at
+the last period. The opening chorus, "God
+Is Our Refuge and Strength," seems to me
+to be built on a rather trite and empty subject,
+which it plays battledore and shuttlecock
+with in the brave old pompous and
+canonic style, which stands for little beyond
+science and labor. It is only fair to say,
+however, that A.J. Goodrich, in his "Musical
+Analysis," praises "the strength and
+dignity" of this chorus; and gives a minute
+analysis of the whole work with liberal thematic
+quotation. The psalm, as a whole,
+though built on old lines, is built well on <span class="pagenum"><a name="Page_200" id="Page_200">200</a></span>
+those lines, and the solo "God Is in the
+Midst of Her" is taken up with especially
+fine effect by the chorus. "The Heathen
+Raged" is a most ingeniously complicated
+chorus also.</p>
+
+<p>The cantata, "Prayer and Praise," is similarly
+conventional, and suffers from the sin of
+repetition, but contains much that is strong.</p>
+
+<p>Of the three prize male choruses written
+for the Mendelssohn Glee Club, the "Ode
+to the Sun" is the least successful. It is
+written to the bombast of Mrs. Hemans, and
+is fittingly hysterical; occasionally it fairly
+shrieks itself out. "In Autumn" is quieter;
+a sombre work with a fine outburst at the
+end. "The Journey of Life" is an andante
+misterioso that catches the gloom of Bryant's
+verse, and offers a good play for that art of
+interweaving voices in which Gilchrist is an
+adept.</p>
+
+<p>"The Uplifted Gates" is a chorus for
+mixed voices with solos for sopranos and <span class="pagenum"><a name="Page_201" id="Page_201">201</a></span>
+altos; it is elaborate, warm, and brilliant. In
+lighter tone are the "Spring Song," a trio
+with cheap words, but bright music and a
+rich ending, and "The Sea Fairies," a chorus
+of delightful delicacy for women's voices. It
+has a piano accompaniment for four hands.
+In this same difficult medium of women's
+voices is "The Fountain," a surpassingly
+beautiful work, graceful and silvery as a cascade.
+It reminds one, not by its manner at
+all, but by its success, of that supreme
+achievement, Wagner's song of the "Rhine-maidens."
+The piano accompaniment to
+Gilchrist's chorus aids the general picture.</p>
+
+<p>A thoroughly charming work is the setting
+of Lowell's poem, "The Rose," for solos and
+chorus. The dreariness of the lonely poet
+and the lonely maid contrasts strongly with
+the rapture of their meeting. As the first
+half of the poem is morose yet melodious, the
+latter is bright with ecstasy; the ending is
+of the deepest tenderness.<span class="pagenum"><a name="Page_202" id="Page_202">202</a></span></p>
+
+<p>By all odds the best of these choruses, however,
+is "The Legend of the Bended Bow,"
+a fine war-chant by Mrs. Hemans. Tradition
+tells that in ancient Britain the people
+were summoned to war by messengers who
+carried a bended bow; the poem tells of the
+various patriots approached. The reaper is
+bidden to leave his standing corn, the hunts-man
+to turn from the chase; the chieftain, the
+prince, mothers, sisters, sweethearts, and the
+bards are all approached and counselled to
+bravery. After each episode follow the words
+"And the bow passed on," but the music
+has been so well managed that the danger of
+such a repetition is turned into grim force.
+The only prelude is five great blasts of the
+horns. A brawny vigor is got by a frequent
+use of imitation and unison in the voices.
+The choric work is marked throughout with
+the most intense and epic power, almost
+savagery; a magnificent martial zest. The
+climax is big. It is certainly one of <span class="pagenum"><a name="Page_203" id="Page_203">203</a></span>
+the best things of its kind ever done over
+here.</p>
+
+<p>Another work of fine quality throughout
+is "A Christmas Idyl," for solos, chorus, and
+orchestra. A terrible sombreness is achieved
+in its former half by a notable simplicity.
+The latter part is in brighter tone; the solo,
+"And Thou, Bethlehem," is especially exultant.
+In manuscript is "An Easter Idyl," of
+large proportions, for solos, chorus, and orchestra,
+or organ.</p>
+
+<p>In the single songs the influence of Gilchrist's
+early training in hymns is patent. In
+only a few instances do they follow the latter-day
+methods of Schumann and Franz. "A
+Song of Doubt and a Song of Faith" is possibly
+his best vocal solo. It begins with a
+plaint, that is full of cynic despair; thence
+it breaks suddenly into a cheerful andante.
+"The Two Villages" is a strong piece of
+work on the conventional lines of what might
+be called the Sunday ballad. "A Dirge for <span class="pagenum"><a name="Page_204" id="Page_204">204</a></span>
+Summer" has a marked originality, and is of
+that deep brooding which is particularly congenial
+to Gilchrist's muse. The Scotch songs
+are charming: "My Heart is Sair" is full of
+fine feeling, and must be classed among the
+very best of the many settings of this lyric
+of Burns'.</p>
+
+<p>Most modern in feeling of all Gilchrist's
+vocal solos is the group of "Eight Songs."
+They interpret the text faithfully and the
+accompaniment is in accord with the song,
+but yet possessed of its own individuality.
+"<a href="#LOVESONG">A Love Song</a>" is tender and has a well-woven
+accompaniment; "The Voice of the
+Sea" is effective, but hardly attains the large
+simplicity of Aldrich' poem; "Autumn"
+is exquisitely cheery; "Goldenrod" is ornately
+graceful, while "The Dear Long
+Ago" is quaint; "Lullaby" is of an exquisitely
+novel rhythm in this overworked
+form.<br /><br /></p>
+
+<div class="musicbox">
+<a name="LOVESONG" id="LOVESONG"></a>
+<h2><br />A LOVE SONG.</h2>
+
+<p class="center">[<a href="music/lovesong.midi">Listen</a>]</p>
+
+<p><br /><span style="margin-left: 6em"><b>By Barry Cornwall.</b></span><span style="margin-left: 21em"><b>Music by W.W. Gilchrist.</b></span></p>
+
+<p class="center">
+<img src="images/lovesong.png" width="700" height="887" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1885, by Arthur P. Schmidt &amp; Co.</b></span></p>
+
+<p class="cpoems"><br />
+Love me if I live,<br />
+Love me if I die.<br />
+What to me is life or death,<br />
+So that thou, that thou be near.<br />
+What to me is life or death,<br />
+So that thou be near,<br />
+So that thou be near.
+</p>
+
+<p class="caption"><br />A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />There is much contrast between the light<span class="pagenum"><a name="Page_206" id="Page_206">206</a></span>ness
+of his book, "Songs for the Children,"
+and his ponderous setting of Kipling's "Recessional."
+The treatment of Paul Laurence
+Dunbar's "Southern Lullaby" is unusual,
+and the songs, "My Ladye" and "The Ideal,"
+both in MS., are noteworthy.</p>
+
+<p>Gilchrist has written a vast amount of
+religious music, including several "Te
+Deums," of which the one in C and that in
+A flat are the best, to my thinking. He has
+written little for the piano except a series of
+duets, of which the charming "M&eacute;lodie" and
+the fetching "Styrienne" are the best.</p>
+
+<p>It is by his orchestral works, however, that
+he gains the highest consideration. These
+include a symphony for full orchestra, which
+has been frequently performed with success;
+a suite for orchestra; a suite for piano and
+orchestra; as well as a nonet, a quintet, and
+a trio, for strings and wind. None of these
+have been published, but I have had the privilege
+of examining some of the manuscripts.
+<span class="pagenum"><a name="Page_207" id="Page_207">207</a></span></p>
+
+<p>The spirit and the treatment of these
+works is strongly classical. While the
+orchestration is scholarly and mellow, it
+is not in the least Wagnerian, either in
+manipulation or in lusciousness. The symphony
+is not at all programmatic. The
+Scherzo is of most exuberant gaiety. Its
+accentuation is much like that in Beethoven's
+piano sonata (op. 14, No. 2). Imitation is
+liberally used in the scoring, with a delightfully
+comic effect as of an altercation. The
+symphony ends with a dashing finale that is
+stormy with cheer. Gilchrist is at work upon
+a second symphony of more modernity.</p>
+
+<p>The "Nonet" is in G minor, and begins
+with an Allegro in which a most original
+and severe subject is developed with infinite
+grace and an unusually rich color. The
+Andante is religioso, and is fervent rather
+than sombre. The ending is especially
+beautiful. A sprightly Scherzo follows. It
+is most ingeniously contrived, and the effects <span class="pagenum"><a name="Page_208" id="Page_208">208</a></span>
+are divided with unusual impartiality among
+the instruments. A curious and elaborate
+allegro molto furnishes the finale, and ends
+the "Nonet" surprisingly with an abrupt
+major chord.</p>
+
+<p>The opening Allegro of the "Quintet"
+begins with a 'cello solo of scherzesque
+quality, but as the other voices join in, it
+takes on a more passionate tone, whence it
+works into rapturously beautiful moods and
+ends magnificently. The piano part has a
+strong value, and even where it merely ornaments
+the theme carried by the strings, it is
+fascinating. The Scherzo is again of the
+Beethoven order in its contagious comicality.
+The piano has the lion's share of it at first,
+but toward the last the other instruments
+leave off embroidery and take to cracking
+jokes for themselves. The Andante is a
+genuinely fine piece of work. It ranges from
+melting tenderness to impassioned rage and
+a purified nobility. The piano part is highly <span class="pagenum"><a name="Page_209" id="Page_209">209</a></span>
+elaborated, but the other instruments have
+a scholarly, a vocal, individuality. I was
+shocked to see a cadenza for the piano just
+before the close, but its tender brilliance was
+in thorough accord with the sincerity of the
+movement. The "Quintet" ends with a
+splendid Allegro.</p>
+
+<p>In MS. are three interesting works for the
+violin, a Rhapsody, a Perpetual Motion, and a
+Fantasie.</p>
+
+<p>This last has a piano accompaniment of
+much ingenuity. The fantasial nature of the
+work lies principally in its development,
+which is remarkably lyrical, various melodies
+being built up beautifully on fractions
+of the main subjects. There is nothing
+perfunctory, and the work is full of art and
+appeal. Gilchrist is one of our most polished
+composers contrapuntally, but has been here
+in a very lyric mood.</p>
+
+<p>He is the founder and conductor of the
+Mendelssohn Club of Philadelphia, an un<span class="pagenum"><a name="Page_210" id="Page_210">210</a></span>usually
+ effective organization; one of the
+founders of the local Manuscript Club;
+the conductor of a choral society of two
+hundred voices, at Harrisburg, and the
+director of two church choirs.</p>
+
+
+<h3><br /><i>G.W. Chadwick.</i></h3>
+
+<p class="center"><br />
+<img src="images/chadwickauto.png" width="600" height="239" alt="Autograph of G.W. Chadwick" />
+</p>
+
+<p><br />One of the most sophisticated, and, at the
+same time, most eclectic of native music-makers,
+is George W. Chadwick, to whom
+the general consent of authorities would
+grant a place among the very foremost of
+the foremost American composers.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="GEORGE_WHITFIELD_CHADWICK" id="GEORGE_WHITFIELD_CHADWICK"></a>
+<img src="images/chadwick.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">GEORGE WHITEFIELD CHADWICK.</p>
+
+<p><br />His reputation rests chiefly on his two
+symphonies, a number of concert overtures,
+and many pieces of chamber-music, which<span class="pagenum"><a name="Page_211" id="Page_211">211</a></span>
+are much praised. Chadwick was born at
+Lowell, Mass., November 13, 1854. His
+parents were American, and it was not till
+1877, after studying with Eugene Thayer in
+Boston, and teaching music in the college at
+Olivet, Mich., that Chadwick studied for two
+years at Leipzig, under Jadassohn and Reinecke,
+and later at Munich for a year under
+Rheinberger. In 1880 he returned to America
+and settled in Boston, where he has since
+lived, as organist, teacher, and conductor, an
+important figure in the town's musical life.</p>
+
+<p>Among his few works for the piano, are
+"Six Characteristic Pieces" (op. 7). The
+"Reminiscence of Chopin" is an interesting
+and skilful chain of partial themes and
+suggestions from Chopin. The "&Eacute;tude" is a
+monotonous study in a somewhat Schumannesque
+manner, with a graceful finish. The
+"Congratulation" is a cheerful bagatelle;
+the "Irish Melody" is sturdy, simple, and
+fetching; but the "Scherzino" is a hard <span class="pagenum"><a name="Page_212" id="Page_212">212</a></span>
+bit of humor with Beethoven mannerisms
+lacking all the master's unction.</p>
+
+<p>The opus ends with an unfortunate composition
+inexcusably titled "Please Do!"</p>
+
+<p>There are two bright "Caprices" and
+three excellent waltzes, of which the third
+is the best. It is a dreamy, tender work on
+a theme by "B.J.L.," which refers, I presume,
+to Mr. B.J. Lang.</p>
+
+<p>Chadwick has done a vast amount of part-song
+writing. His "Lovely Rosabelle" is
+for chorus and orchestra, and is marked with
+many original effects. His "Reiterlied" is
+superbly joyful. A setting of Lewis Carroll's
+immortal "Jabberwocky" shows much rich
+humor of the college glee-club sort. There
+is an irresistibly humorous episode where
+the instrument of destruction goes "snicker
+snack," and a fine hilarity at</p>
+
+<p class="cpoems">
+"'O frabjous day<br />
+Callooh, callay,'<br />
+He chortled in his joy."<br />
+</p>
+
+<p><span class="pagenum"><a name="Page_213" id="Page_213">213</a></span>
+What would part-song writers do if the
+Vikings had never been invented? Where
+would they get their wild choruses for men,
+with a prize to the singer that makes the
+most noise? Chadwick falls into line with
+"The Viking's Last Voyage" (1881), for
+barytone solo, male chorus, and orchestra,
+which gives him a very high place among
+writers in this form. He has also a robustious
+"Song of the Viking," and an excellent
+Dedication Ode (1884), for solo, chorus, and
+orchestra, to the pregnant words of Rev.
+H.B. Carpenter, besides two cantatas for
+mixed voices, "Ph&oelig;nix Expirans" and "The
+Pilgrims." In 1889 was published his
+"Lovely Rosabelle," a ballad for chorus
+and orchestra; it contains some interesting
+dissonantial work in the storm-passages.
+And his comic opera, "Tabasco,"
+must be mentioned, as well as an enormous
+mass of sacred music, which, I confess,
+I had not the patience to study. <span class="pagenum"><a name="Page_214" id="Page_214">214</a></span>
+The flesh was willing, but the spirit was
+weak.</p>
+
+<p>Among Chadwick's songs is a volume of
+Breton melodies harmonized with extreme
+simplicity. Others are "Gay Little Dandelion,"
+which is good enough of its everlasting
+flower-song sort; "In Bygone Days" and
+"Request," which, aside from one or two
+flecks of art, are trashy; and two childish
+namby-pambies, "Adelaide" and "The Mill."
+"A Bonny Curl" catches the Scotch-ton
+faithfully.</p>
+
+<p>Chadwick usually succeeds, however, in
+catching foreign flavors. His "Song from
+the Persian" is one of his best works, and
+possibly the very best is his "Sorais' Song,"
+to Rider Haggard's splendid words. It has
+an epic power and a wild despair. Up to
+the flippancy of its last measures, it is quite
+inspired, and one of the strongest of American
+songs. The "Danza" is captivating
+and full of novelty. "Green Grows the <span class="pagenum"><a name="Page_215" id="Page_215">215</a></span>
+Willow" is a burden of charming pathos
+and quaintness, though principally a study
+in theme-management. "Allah," however,
+is rather Ethiopian than Mahommedan. His
+"Bedouin Love Song" has little Oriental
+color, but is full of rush and fire, with a
+superb ending. It is the best of the countless
+settings of this song. I wish I could
+say the same of his "Thou Art so Like a
+Flower," but he has missed the intense repression
+of Heine.</p>
+
+<p>The "Serenade" displays an interesting
+rhythm; "The Miller's Daughter" is tender,
+and "A Warning" is delightfully witty.
+One regrets, however, that its best points
+were previously used in Schumann's perfect
+folk-song, "Wenn ich fr&uuml;h in den Garten
+geh'." Chadwick has <a href="#FOLKSONG">two folk-songs</a> of his
+own, however, which are superb. "He
+Loves Me" is a tender, cradle-song-like bit
+of delicious color. The "Lullaby" is a
+genuinely interesting study in this over<span class="pagenum"><a name="Page_218" id="Page_218">218</a></span>worked
+form. "The Lily" has the passionate
+lyricism of Chaminade, and "Sweet Wind
+that Blows" is a fine frenzy. The "Nocturne"
+is dainty and has its one good climax.
+"Before the Dawn" has some of Chadwick's
+best work; it is especially marked by a daring
+harmonic&mdash;you might say&mdash;<i>impasto</i>.<br /><br /></p>
+
+<div class="musicbox">
+<a name="FOLKSONG" id="FOLKSONG"></a>
+<h4><br /><i>To Mrs. G.H. Stoddard.</i></h4>
+
+<h3>TWO FOLK SONGS.</h3>
+
+<h2>I</h2>
+
+<p class="center">[<a href="music/folksong.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em"><b>G.W. Chadwick</b></span></p>
+
+<p class="center">
+<img src="images/folksong01.png" width="700" height="808" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/folksong02.png" width="700" height="927" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1892, by Arthur P. Schmidt.</b></span></p>
+
+<p class="cpoems"><br />
+O love and joy are for a day,<br />
+Then tears and sorrow after,<br />
+O love is for a summer's day,<br />
+And then farewell to laughter.<br />
+If love and joy are for a day<br />
+And then farewell to laughter,<br />
+To live with love give me one day<br />
+Though tears forever after.
+<br /><br /></p>
+</div>
+
+<p><br />His principal works, besides those mentioned,
+may be catalogued (I am unable to
+do more than catalogue most of them, having
+seen only one of them, "The Lily
+Nymph," performed, and having read the
+score of only the "Melpomene" overture):
+Concert overtures, "Rip Van Winkle" (written
+in Leipzig, 1879, and played there the
+same year), "Thalia" (1883), "Melpomene"
+(1887), "The Miller's Daughter" (1887), and
+"Adonais" (in memory of a friend, 1899);
+Symphonies, in C (1882), in B (1885); an
+Andante for string orchestra (1884), and
+numerous pieces of chamber-music. In the
+case of the cantata, "The Lily Nymph," <span class="pagenum"><a name="Page_219" id="Page_219">219</a></span>
+Chadwick's art was quite futilized by the
+superb inanities of the book he used. The
+"Melpomene" is a work of infinitely more
+specific gravity. It is one of the most important
+of American orchestral works.</p>
+
+<p>As his "Thalia" was an "overture to an
+imaginary comedy," so this, to an imaginary
+tragedy. It has been played by the Boston
+Symphony and many other orchestras. It
+has that definiteness of mood with that indefiniteness
+of circumstance in which music
+wins its most dignified prosperity.</p>
+
+<div class="blockquot"><p>It opens with the solitary voice of the English
+horn, which gives a notable pathos (read Berlioz on
+this despairful elegist, and remember its haunting
+wail in the last act of "Tristan und Isolde"). The
+woeful plaint of this voice breathing above a low
+sinister roll of the tympanum establishes at once
+the atmosphere of melancholy. Other instruments
+join the wail, which breaks out wildly from the
+whole orchestra. Over a waving accompaniment
+of clarinets, the other wood-winds strike up a more
+lyric and hopeful strain, and a soliloquy from the
+'cello ends the slow introduction, the materials of <span class="pagenum"><a name="Page_220" id="Page_220">220</a></span>
+which are taken from the two principal subjects of
+the overture, which is built on the classic sonata
+formula. The first subject is announced by the
+first violins against the full orchestra; the subsidiary
+theme is given to the flutes and oboes; after a
+powerful climax, and a beautiful subsidence of the
+storm in the lower strings, the second subject appears
+in the relative major with honeyed lyricism.
+The conclusion, which is made rather elaborate by
+the latter-day symphonists, is reduced to a brief
+modulation by Mr. Chadwick, and almost before
+one knows it, he is in the midst of the elaboration.
+It is hard to say whether the composer's emotion
+or his counterpoint is given freer rein here, for the
+work is remarkable both for the display of every
+technical resource and for the irresistible tempest
+of its passion. In the reprise there is a climax that
+thrills one even as he tamely reads the score, and
+must be overpowering in actual performance: the
+cheerful consolation of the second subject provokes
+a cyclonic outburst of grief; there is a furious climax
+of thrilling flutes and violins over a mad blare of
+brass, the while the cymbals shiver beneath the blows
+of the kettledrum-sticks. An abrupt silence prepares
+for a fierce thunderous clamor from the tympani
+and the great drum (beaten with the sticks of
+the side-drum). This subsides to a single thud of a <span class="pagenum"><a name="Page_221" id="Page_221">221</a></span>
+kettledrum; there is another eloquent silence; the
+English horn returns to its first plaint; but grief has
+died of very exercise, and the work ends in a coda
+that establishes a major harmony and leaves the
+hearer with a heart purged white and clean.</p></div>
+
+<p>The "Melpomene" overture is a work of
+such inspiration and such scholarship that it
+must surely find a long youth in the chronicle
+of our music.</p>
+
+
+<h3><br /><i>Arthur Foote.</i></h3>
+
+<p class="center"><br />
+<a name="Foote_autograph" id="Foote_autograph"></a>
+<img src="images/footeauto.png" width="600" height="218" alt="Autograph of Arthur Foote" />
+</p>
+
+<p><br />The nearest approach Americans make to
+the enthusiastic German <i>M&auml;nnerchor</i> is in the
+college glee clubs. The dignity of their selections
+is not always up to that of the Teutonic
+chorus, but they develop a salutary fondness
+for color and shading, exaggerating both a <span class="pagenum"><a name="Page_222" id="Page_222">222</a></span>
+little perhaps, yet aiming at the right warmth
+and variety withal. Even those elaborate
+paraphrases and circumlocutions of Mother
+Goose rhymes, to which they are so prone,
+show a striving after dramatic effect and richness
+of harmony, as well as a keen sense of
+wit and humor that are by no means incompatible
+with real value in music.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="ARTHUR_FOOTE" id="ARTHUR_FOOTE"></a>
+<img src="images/foote.png" width="273" height="400" alt="" />
+</p>
+
+<p class="caption">ARTHUR FOOTE.</p>
+
+<p><br />Among their other good deeds must be
+counted the fostering of the musical ambitions
+of Arthur Foote, who was for two years the
+leader of the Glee Club of Harvard University.
+Though he has by no means been
+content to delve no deeper into music than
+glee-club depths, I think the training has been
+of value, and its peculiar character is patent
+in his works. He is especially fond of writing
+for men's voices, and is remarkably at home
+in their management, and he strives rather for
+color-masses than for separate individualities
+in the voices.</p>
+
+<p>Among his larger works for men's voices <span class="pagenum"><a name="Page_223" id="Page_223">223</a></span>
+is an elaborate setting of Longfellow's poem,
+"The Skeleton in Armor," which is full of
+vigor and generally sturdy in treatment,
+especially in its descriptions of Viking war
+and seafaring. The storm-scenes, as in Mr.
+Foote's "Wreck of the Hesperus," seem
+faintly to suggest Wagnerian <i>Donner und
+Blitzen</i>, but in general Mr. Foote has resisted
+the universal tendency to copy the mannerisms
+so many take to be the real essence of the
+Bayreuthian. A pretty bit of fancy is the use
+of a spinning-wheel accompaniment to the
+love-song, although the spindle is nowhere
+suggested by the poem. Indeed, the spinning
+is treated as a characteristic motif for the
+Norseman's bride, somewhat as it is Senta's
+motif in "The Flying Dutchman."</p>
+
+<p>The chief fault with the "Skeleton" chorus
+is that it is always choric. There are no
+solos, and the different registers are never
+used separately for more than a bar or two,
+before the whole mass chimes in. Even the <span class="pagenum"><a name="Page_224" id="Page_224">224</a></span>
+instrumental interludes are short, and the
+general effect must be rather undiversified,
+one of sympathy, too, for the unrested chorus.</p>
+
+<p>"The Wreck of the Hesperus" is an
+ambitious work, built on large lines, but hardly
+represents Mr. Foote at his best. It is for
+mixed voices, and is pitched in a most lugubrious
+key, being always either vociferous with
+panic or dismal with minor woe. A worse
+trouble yet is the attempt to make a short
+poem fit a long composition. The Procrustean
+operation strains even Longfellow sadly.</p>
+
+<p>This blemish is lacking in "The Farewell
+of Hiawatha," which is written for men's
+voices. Though it, too, is of a sad tone, its
+sombre hues are rich and varied as a tapestry.
+Its effects, though potent, seem more sincere
+and less labored. It is altogether noble.</p>
+
+<p>A larger body of sacred music for mixed
+voices than many other Americans can boast,
+also swells Foote's opus-score. Here he shows
+the same facility with the quartette as in his <span class="pagenum"><a name="Page_225" id="Page_225">225</a></span>
+other works. In fact, I think the effect of
+glee-club training on his young mind has
+strongly influenced his whole life-work. And,
+by the way, the most talented of all the great
+Sebastian Bach's twenty-one children&mdash;every
+one a musical opus, too&mdash;was diverted from
+the philosopher's career for which he was
+intended, and into professional musicianship,
+by just such a glee-club training in the universities
+at Leipzig and Frankfort.</p>
+
+<p>Almost all of Foote's compositions are
+written in the close harmony and limited
+range of vocal music, and he very rarely
+sweeps the keyboard in his piano compositions,
+or hunts out startling novelties in
+strictly pianistic effect. He is not fond of the
+cloudy regions of the upper notes, and though
+he may dart brilliantly skyward now and then
+just to show that his wings are good for
+lighter air, he is soon back again, drifting
+along the middle ether.</p>
+
+<p>He has won his high place by faithful ad<span class="pagenum"><a name="Page_226" id="Page_226">226</a></span>herence
+ to his own sober, serene ideals, and
+by his genuine culture and seriousness. He
+is thoroughly American by birth and training,
+though his direct English descent accounts
+for his decided leaning toward the better impulses
+of the English school of music. He
+was born at Salem, Mass., March 5, 1853,
+and though he played the piano a good deal
+as a boy, and made a beginning in the study
+of composition with Emery, he did not study
+seriously until he graduated from Harvard in
+1874. He then took up the higher branches
+of composition under the tuition of John
+Knowles Paine, and obtained in 1875 the
+degree of A.M. in the special department of
+music. He also studied the organ and the
+piano with B.J. Lang at Boston, and has
+since made that city his home, teaching and
+playing the organ.</p>
+
+<p>His overture, "In the Mountains," has been
+much played from the manuscript by orchestras,
+among them the Boston Symphony. <span class="pagenum"><a name="Page_227" id="Page_227">227</a></span>
+Besides a considerable amount of highly
+valuable contributions to American chamber-music,
+and two fine piano suites, he has
+written a great many piano pieces and songs
+which deserve even greater popularity than
+they have won, because, while not bristling
+with technical difficulties, they are yet of permanent
+worth.</p>
+
+<p>I know of no modern composer who has
+come nearer to relighting the fires that beam
+in the old gavottes and fugues and preludes.
+His two gavottes are to me among the best
+since Bach. They are an example of what it
+is to be academic without being only a-rattle
+with dry bones. He has written a Nocturne
+that gets farther from being a mere imitation
+of Chopin than almost any night-piece written
+since the Pole appropriated that form
+bodily from John Field and made it his
+own.</p>
+
+<p>One of his most original pieces is the Capriccio
+of his D minor Suite, which is also un<span class="pagenum"><a name="Page_228" id="Page_228">228</a></span>usually
+ brilliant in color at times; and he has
+an Allegretto that is a scherzo of the good old
+whole-souled humor. Foote, in fact, is never
+sickly in sentiment.</p>
+
+<p>Of his rather numerous songs, the older
+English poets, like Marlowe, Sidney, Shakespeare,
+Suckling, and Herrick, have given him
+much inspiration. The song "<a href="#LOVER">It Was a Lover
+and his Lass</a>" is especially taking. His three
+songs, "When You Become a Nun, Dear,"
+"The Road to Kew," and "Ho, Pretty Page!"
+written by modern poets in a half-archaic
+way, display a most delicious fund of subtile
+and ironic musical humor. "The Hawthorn
+Wins the Damask Rose" shows how really
+fine a well conducted English ballad can be.
+Among his sadder songs, the "Irish Folksong,"
+"I'm Wearing Awa'," and the weird
+"In a Bower" are heavy with deepest pathos,
+while "Sweet Is True Love" is as wildly intense
+and as haunting in its woe as the fate
+of the poor Elaine, whose despair it sings. <span class="pagenum"><a name="Page_229" id="Page_229">229</a></span>
+This I count one of the most appealing of
+modern songs.<br /><br /></p>
+
+<div class="musicbox">
+<a name="LOVER" id="LOVER"></a>
+<h2><br />IT WAS A LOVER AND HIS LASS.</h2>
+
+<p class="center">[<a href="music/lover.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em"><b>ARTHUR FOOTE, Op. 10, No. 1.</b></span></p>
+
+<p class="center">
+<img src="images/lover01.png" width="700" height="786" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/lover02.png" width="700" height="1022" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1886, by Arthur P. Schmidt &amp; Co.</b></span><br /></p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="lyrics">
+<tr>
+<td>
+1. It was a lover and his lass,<br />
+With a hey and a ho,<br />
+With a hey and a ho, and a hey, and a hey non-i-no!<br />
+That o'er the green cornfield did pass,<br />
+In the springtime, the springtime,<br />
+The only pretty ring-time,<br />
+When birds do sing hey ding a ding!<br />
+Sweet lovers love the spring.
+</td>
+<td>
+2. And therefore take the present time,<br />
+With a hey and a ho,<br />
+With a hey and a ho, and a hey, and a hey non-i-no!<br />
+For love is crowned with the prime,<br />
+In the springtime, the springtime,<br />
+The only pretty ring-time,<br />
+When birds do sing hey ding a ding!<br />
+Sweet lovers love the Spring. (<i>Shakespeare.</i>)
+</td>
+</tr>
+</table>
+
+<p><br /></p>
+</div>
+
+<p><br />His greatest work is undoubtedly his symphonic
+prologue to Dante's story of "Francesca
+da Rimini," for full orchestra. Without
+being informed upon the subject, I fancy a
+certain programmism in the prologue that is
+not indicated in the quotation at the beginning
+of the work:</p>
+
+<p class="cpoems">
+<span style="margin-left: 3em;">"Nessun maggior dolore,</span><br />
+Che ricordarsi del tempo felice<br />
+Nella miseria."<br />
+</p>
+
+<p>The prologue, however, seems to me to
+contain more than the psychological content
+of these lines from the fifth canto of the
+"Inferno."</p>
+
+
+<div class="blockquot"><p>The slow introduction in C minor begins with a
+long, deep sigh, followed by a downward passage in
+the violas and 'cellos that seems to indicate the steps
+that bring Dante and Vergil down to the edge of the
+precipice past which the cyclone of the damned rolls
+eternally. There is some shrieking and shuddering,<span class="pagenum"><a name="Page_232" id="Page_232">232</a></span>
+and ominous thudding of the tympani (which are
+tuned to unusual notes), then follows a short recitative
+which might represent Dante's query to
+Francesca how she came to yield to love. Suddenly
+out of the swirling strings the first subject
+is caught up; it is a frenzy passionately sung by
+the first violins, re&euml;nforced by the flutes at the
+crises. The second subject appears after a sudden
+prelude by the brass; it is a very lyric waltz-tune in
+the relative major, and doubtless depicts the joy
+recalled in sorrow. The conclusion is quite lengthy;
+it is also in waltz form, and is first announced by a
+single flute over the violins and violas, the first violins
+keeping to the gloomy G string. This air is now
+given to a solo horn, and a fierce and irresistible
+dance fervor is worked up. The elaboration begins
+with the first subject in F sharp minor, caught up
+fiercely from a downward rush. The reprise is not
+long delayed, and the second subject appears, contrary
+to custom, in the tonic major instead of the tonic
+minor. The coda is deliciously tender and beautiful,
+possibly because, being a prologue, the work must prepare
+for a drama that begins cheerfully; possibly
+because after all there is comfort in bliss remembered
+in sorrow.</p></div>
+
+<p>Tscha&iuml;kowski has written a symphonic
+poem on the same subject, which has been <span class="pagenum"><a name="Page_233" id="Page_233">233</a></span>
+also the inspiration of numberless dramas,
+and is one of the most pathetic pages in all
+literature; even the stern old Dante says that
+when he heard Francesca tell her story he
+almost died of pity, and fell to the ground as
+one dead.</p>
+
+<p>A Serenade for string orchestra (op. 25)
+contains a Prelude, a tender Air, a luscious
+Intermezzo in the rich key of B major with
+soli for violin and 'cello, a Romance with a
+good climax, and a gallant Gavotte with
+special attention to the too much slighted
+violas.</p>
+
+<p>Opus 36 is a suite for full orchestra. It has
+been played by the Boston Symphony, and
+consists of a brilliant Allegro; an Adagio of
+deep sincerity and beautifully varied color, a
+period wherein the brass choir, heavily scored,
+chants alone, and the division of the theme
+among the wood-wind over the rushing strings
+is especially effective; a very whimsical Andante
+with frequent changes of tempo, and <span class="pagenum"><a name="Page_234" id="Page_234">234</a></span>
+soli for the English horn in antiphony with
+the first oboe; and a madcap Presto that
+whisks itself out in the first violins.</p>
+
+<p>Two other published works are a string
+quartette (op. 4) and a quintette for piano and
+strings (op. 36). This begins in A minor with
+a well woven and well derived set of themes,
+and ends in a scherzo in A major with spinning-song
+characteristics. Between these two
+movements comes an intermezzo of strongly
+marked Scotch tone. This has been performed
+by the Kneisel Quartette.</p>
+
+
+<h3><br /><i>S.G. Pratt.</i></h3>
+
+<p>Almost every musician has heard of Christopher
+Columbus, and holds him in a certain
+esteem as a man without whose push the
+invention of America would have been long
+deferred; but few American musicians have
+felt under a sufficient debt of gratitude to
+make his troubles and triumphs the founda<span class="pagenum"><a name="Page_235" id="Page_235">235</a></span>tion
+ of an appropriate musical work. Silas
+G. Pratt was bold enough to undertake the
+monumental task; and he expended upon it
+large resources of scholarship, research, and
+enthusiasm. The work was performed at
+New York during the Quadricentennial of
+the discovery of America.</p>
+
+<p>If Pratt had been born in old Egypt, he
+would have found his chief diversion in the
+building of pyramids, so undismayed is he by
+the size of a task. His patriotism is a sharp
+spur to him, and has enabled him to write
+an orchestral composition devoted to Paul
+Revere's Ride; a fantasy descriptive of a
+battle between the Northern and Southern
+armies; "The Battle of Manila;" "The Anniversary
+Overture," in commemoration of the
+centennial of American Independence, performed
+in Berlin twice, and in London at the
+Crystal Palace, during Grant's visit there;
+and a march called by the curious name of
+"Homage to Chicago." Besides these works <span class="pagenum"><a name="Page_236" id="Page_236">236</a></span>
+Pratt has written the "Magdalen's Lament,"
+his first orchestral composition, suggested by
+Murillo's picture; the lyric opera, "Antonio;"
+a first symphony, of which the adagio was performed
+in Berlin, the other movements being
+produced in Boston and Chicago; a second
+symphony, "The Prodigal Son;" a romantic
+opera, "Zenobia," produced in Chicago; a
+lyric opera, "Lucille," which ran for three
+weeks in Chicago; a symphonic suite based
+on the "Tempest;" a canon for a string
+quartette; a serenade for string orchestra;
+a grotesque suite, "The Brownies," produced
+in New York and at Brighton Beach by
+Anton Seidl. Besides these works of musical
+composition, Pratt has delivered various
+musical lectures, ingeniously contrived to
+entertain the great public and at the same
+time inform it. He has been active also in
+the organization of various musical enterprises,
+among them the Apollo Club of
+Chicago.<span class="pagenum"><a name="Page_237" id="Page_237">237</a></span></p>
+
+<p>Pratt was born in Addison, Vermont,
+August 4, 1846. At the age of twelve, he
+was thrown on his own resources, and connected
+himself with music publishing houses
+in Chicago. After various public performances,
+he went to Germany in 1868, to study
+the piano under Bendel and Kullak, and
+counterpoint under Kiel. In 1872 he returned
+to Chicago and gave a concert of his
+own works. But the ph&oelig;nix city had not
+entirely preened its wings after the great
+fire of 1871, and Pratt found no support
+for his ambitions. After teaching and giving
+concerts, he returned to Germany in
+1875, where he attended the rehearsals
+of Wagner's Trilogy at Bayreuth, met Liszt
+here, and gave a recital of his own compositions
+at Weimar. His "Anniversary
+Overture" was cordially received by the press
+of both Berlin and London. A third visit to
+Europe was made in 1885 for the production
+of the "Prodigal Son" at the Crystal Palace, <span class="pagenum"><a name="Page_238" id="Page_238">238</a></span>
+on the occasion of which, Berthold Tours
+wrote that both the symphony and the
+"Anniversary Overture" were "grandly conceived
+works, full of striking originality,
+modern harmony, flowing melody, and beautiful,
+as well as imposing effects."</p>
+
+<p>Activity along such lines has left Pratt
+little time for the smaller forms of composition;
+a few have been published, among them
+the song, "Dream Vision," in which Schumann's
+"Tr&auml;umerei" is used for violin obbligato;
+and a few piano pieces, such as "Six
+Soliloquies," with poetic text. In these each
+chord shows careful effort at color, and the
+work is chromatic enough to convince one
+that he has studied his Bach thoroughly.</p>
+
+<p>Among his massive compositions there
+are two that seem likely to win, as they
+surely deserve, a long life. These are the
+symphonic suite, "The Tempest," and the
+"Prodigal Son." To the latter splendid
+achievement, A.J. Goodrich devotes several <span class="pagenum"><a name="Page_239" id="Page_239">239</a></span>
+pages of his "Musical Analysis," to which
+I can do no better than to refer the reader.
+The "Tempest" is based, of course, on Shakespeare's
+play, and is described as follows by
+the composer:</p>
+
+<div class="blockquot">
+<p>"It is intended, in the first movement, Adagio, to
+typify the sorrow of Prospero, and his soul's protest
+against the ingratitude and persecution of his enemies.
+His willing attendant Ariel is briefly indicated
+in the closing measures. The Pastoral furnishes an
+atmosphere or stage setting for the lovers, Miranda
+and Ferdinand, whose responsive love-song follows
+the droning of a shepherd's pipe in the distance.
+Prospero's interruption to their passionate assurances
+of devotion, and the imposition of the unpleasant
+task, are briefly touched upon, and the movement
+closes with a repeat of the pastoral, and alternate
+reiteration of the lover's song. The Finale, after a
+short introduction, in most sombre vein, indicates
+the flitting about of Ariel and his companion sprites
+as they gather for revelry. The presence of the
+master is soon made apparent by the recurrence, in a
+subdued manner, of Prospero's first theme from the
+Adagio, the fantastic tripping of the elves continuing,
+as though the controlling spirit were conjuring up the
+f&ecirc;te for the amusement of the lovers and himself.</p></div>
+
+<p><span class="pagenum"><a name="Page_240" id="Page_240">240</a></span></p>
+
+<p class="cpoeml">
+"'Ye elves of hills, brooks, standing lakes and groves;<br />
+And ye that on the sand, with printless foot<br />
+Do chase the ebbing Neptune, and do fly him<br />
+When he comes back.'<br />
+</p>
+
+<div class="blockquot">
+<p>"The dance then begins, and continues in a fantastic,
+at times grotesque and furious manner, the
+theme of the lovers being interwoven at times, in an
+unobtrusive way. At length, Caliban is heard approaching,
+singing his drunken song.</p>
+</div>
+
+<p class="cpoem">
+"''Ban, 'Ban, Ca-caliban<br />
+Has a new master: get a new man.'<br />
+</p>
+
+<div class="blockquot">
+<p>"Ariel and his companions flit about, ridiculing,
+mocking, and laughing at him; eventually prodding
+and pinching him until, shivering, with aching joints,
+he staggers away. The revelry then continues, the
+song of the lovers becoming more and more prominent
+until, somewhat broadened out, it asserts itself
+triumphantly above all, Ariel and his companions
+flitting about, Prospero happy, and Caliban subjugated,
+all the chief themes being united to form the
+climax and close of the work."</p></div>
+
+<p>Although Pratt intentionally omitted the
+English horn and the bass clarinet, the scoring
+is remarkable for its color and faery. <span class="pagenum"><a name="Page_241" id="Page_241">241</a></span>
+The work is highly lyrical in effect, and the
+woodsiness is beautifully established. The
+solemnity of Prospero, the adroitness of the
+lovers and the contrasting natures of the volatile
+Ariel and the sprawling Caliban, make up
+a cast of characters in the development of
+which music is peculiarly competent. The
+stertorous monologue of Caliban and his
+hobbling dance, and the taunting and pinching
+torment he is submitted to, make excellent
+humor.</p>
+
+
+<h3><br /><i>Henry K. Hadley.</i></h3>
+
+<p class="border" style="text-align: center"><br />
+<a name="HENRY_K_HADLEY" id="HENRY_K_HADLEY"></a>
+<img src="images/hadley.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">HENRY K. HADLEY.</p>
+
+<p><br />The word symphony has a terrifying sound,
+particularly when it is applied to a modern
+work; for latter-day music is essentially
+romantic in nature, and it is only a very rare
+composer that has the inclination or the
+ability to force the classic form to meet his
+new ideas. The result is that such a work
+usually lacks spontaneity, conviction. The <span class="pagenum"><a name="Page_242" id="Page_242">242</a></span>
+modern writer does much better with the
+symphonic poem.</p>
+
+<p>The number of American symphonies
+worth listening to, could be counted on the
+fingers with several digits to spare. A new
+finger has been pre&euml;mpted by Henry K.
+Hadley's symphony called "Youth and
+Life." The title is doubly happy. Psychologically
+it is a study of the intense emotional
+life of youth, written by an American youth,&mdash;a
+young man who, by the way, strangely
+reminds one, in his appearance, of Macmonnies'
+American type, as represented by
+his ideal statue of Nathan Hale.</p>
+
+<p>And musically the work is imbued with
+both youth and life. It has blood and heart
+in it. The first movement is a conflict between
+good and evil motives struggling like
+the medi&aelig;val angels for the soul of the hero.
+The better power wins triumphantly. The
+second movement, however, shows doubt
+and despair, remorse and deep spiritual de<span class="pagenum"><a name="Page_243" id="Page_243">243</a></span>pression.
+ The climax of this feeling is a
+death-knell, which, smitten softly, gives an
+indescribably dismal effect, and thrills without
+starting. Angelus bells in pedal-point
+continue through a period of hope and prayer;
+but remorse again takes sway. The ability
+to obtain this fine solemnity, and follow it
+with a scherzo of extraordinary gaiety, proves
+that a genius is at large among us. The
+Scherzo displays a thigh-slapping, song-singing
+<i>abandon</i> that typifies youthful frivolity
+fascinatingly. A fugue is used incidentally
+with a burlesque effect that reminds one of
+Berlioz' "Amen" parody in the "Damnation
+of Faust." The Finale exploits motives
+of ambition and heroism, with a moment of
+love. The climax is vigorous. Without
+being at all ariose, the symphony is full of
+melody. Its melodies are not counterpoint,
+but expression; and each instrument or choir
+of instruments is an individuality.</p>
+
+<p>Hadley is galvanic with energy and opti<span class="pagenum"><a name="Page_244" id="Page_244">244</a></span>mism,
+ dextrous to a remarkable degree in the
+mechanism of composition. His scoring is
+mature, fervent, and certain. His symphony
+is legitimately programmatic and alive with
+brains, biceps, and blood,&mdash;all three,&mdash;the
+three great B's of composition.</p>
+
+<p>Hadley was born at Somerville, Mass., in
+1871. His father was a teacher of music
+and gave him immediate advantages. He
+studied harmony with Stephen A. Emery,
+counterpoint with G.W. Chadwick, and the
+violin with Henry Heindl and Charles N.
+Allen of Boston. Before attaining his majority,
+he had completed a dramatic overture,
+a string quartette, a trio, and many songs
+and choruses. In 1894 he went to Vienna
+and studied composition with Mandyczewski.
+Here he composed his third suite for the
+orchestra. In 1896 he returned to America
+and took charge of the music department of
+St. Paul's school at Garden City, L.I. He
+has had some experience as a conductor <span class="pagenum"><a name="Page_245" id="Page_245">245</a></span>
+and has been very prolific in composition.
+His first symphony was produced under the
+direction of Anton Seidl, in December, 1897;
+and at a concert of his own compositions,
+again, in January, 1900, Hadley conducted
+this symphony, and also two movements from
+his second symphony, "The Seasons." These
+two movements show a mellower technic,
+perhaps, but are less vital. He has written
+three ballet suites with pronounced success,
+the work being musical and yet full of the
+ecstasy of the dance. His third ballet suite,
+which is the best, was produced at a concert
+of the American Symphony Orchestra, under
+Sam Franko.</p>
+
+<p>The existence of a festival march, a concert
+overture, "Hector and Andromache,"
+two comic operas, and six songs for chorus
+and orchestra, besides a number of part songs
+and piano pieces, and over one hundred songs,
+forty of which are published, gives proof of
+the restless energy of the man. The high <span class="pagenum"><a name="Page_246" id="Page_246">246</a></span>
+average of scholarship is a proof of his right
+to serious acceptance.</p>
+
+<p>A cantata for orchestra, "Lelewala," a
+legend of Niagara, is published for piano
+accompaniment. Now, Niagara is a dangerous
+subject for the frail skiffs of rhyme, prose, or
+music to launch out upon. Barrel staves may
+carry one through the whirlpool, but music
+staves cannot stand the stress. Of all the
+comments upon the Falls of Niagara that I
+have ever read, or heard of, there has been
+only one that seemed anything but ridiculously
+inappropriate; that one was the tribute
+of a young boy who, on standing face to face
+with the falls, simply exclaimed, in an awe-smothered
+whisper, "Well, by gosh!" But it
+must be admitted that these words would baffle
+the music-making propensities even of the
+composer of H&auml;ndel's "Hallelujah Chorus."
+That learned composer, George F. Bristow,
+now dead, made the mistake of attempting to
+compass Niagara in a work for chorus and <span class="pagenum"><a name="Page_247" id="Page_247">247</a></span>
+orchestra. Hadley is not exactly guilty of the
+same fatal attempt in his "Lelewala," for the
+poem is chiefly a story of love and sacrifice; but
+Niagara comes in as a programmatic incident,
+and the author of the text has fallen lamentably
+short of his subject in certain instances.
+In other moments, he has written with genuine
+charm, and the music has much that is
+worth while.</p>
+
+<p>Among his published songs are to be
+noted the unusually good setting of Heine's
+"Wenn ich in deine Augen seh'" and of his
+less often heard "Sapphire sind die Augen
+dein," and "Der Schmetterling ist in die
+Rose verliebt." A deservedly popular work
+is "I Plucked a Quill from Cupid's Wing."
+Among so many morose or school-bound
+composers, Hadley is especially important for
+the fact that he is thrilled with a sane and
+jubilant music.
+<span class="pagenum"><a name="Page_248" id="Page_248">248</a></span></p>
+
+
+<h3><br /><i>Adolph M. Foerster.</i></h3>
+
+<p>It has been fortunate for American song
+that it forsook the narrow, roystering school
+of English ballad and took for its national
+model the <i>Lied</i> of the later German school.
+It is true that the earlier English had its
+poetry-respecting music in the work of
+such a man as Henry Lawes, or Purcell, just
+as it had its composers who far preceded
+Bach in the key-roving idea of the "Well-tempered
+Clavier;" but that spirit died out
+of England, and found its latest avatar in
+such men as Robert Franz, who confessed
+that he had his first and fullest recognition
+from this country.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="ADOLPH_M_FOERSTER" id="ADOLPH_M_FOERSTER"></a>
+<img src="images/foerster.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">ADOLPH M. FOERSTER.</p>
+
+<p><br />A correspondence with Franz was carried
+on for eighteen years by one of the solidest
+of American composers, Adolph M. Foerster,
+who gives distinction to the musical life of
+Pittsburg. He knew Franz personally, and has
+written an important appreciation of him for <span class="pagenum"><a name="Page_249" id="Page_249">249</a></span>
+the magazine <i>Music</i>. Foerster was born at
+Pittsburg in 1854. After three years of
+commercial life, he took up music seriously,
+and spent the years from 1872 to 1875 at
+Leipzig,&mdash;studying the piano under Coccius
+and Wenzel, singing under Grill and Schimon,
+and theory under E.F. Richter and Papperitz.
+Returning to America, he connected himself
+with the Fort Wayne (Ind.) Conservatory of
+Music, then under the direction of the beneficent
+inventor of the Virgil Clavier. A year
+later he returned to Pittsburg, where he has
+since remained. For awhile he was conductor
+of a symphonic society and a choral
+union, which are no longer extant. Since, he
+has devoted himself to teaching and composition.</p>
+
+<p>Of Foerster's piano compositions opus 11
+is a "Valse Brillante," warm and melodious.
+Opus 13 is a "Sonnet," based, after the plan
+of Liszt, upon a lyric of Petrarch's, a beautiful
+translation from his "Gli occhi di ch'io
+ <span class="pagenum"><a name="Page_250" id="Page_250">250</a></span>
+parlai si caldamente." It is full of passion,
+and shows a fine variety in the handling of
+persistent repetition. Opus 18 couples two
+sonatinas. The second has the more merit,
+but both, like most sonatinas, are too trivial
+of psychology and too formal even to
+be recommended for children's exercises.
+"Eros" is a fluent melody, with a scherzesque
+second part.</p>
+
+<p>Opus 37 contains two concert &eacute;tudes, both
+superb works. The first, "Exaltation," is
+very original, though neither the beginning
+nor the ending is particularly striking. The
+music between, however, has a fervor that
+justifies the title. This &eacute;tude is, like those
+of Chopin, at the same time a technical study
+and a mood. The second, a "Lamentation,"
+begins with a most sonorous downward harmony,
+with rushes up from the bass like
+the lessening onsets of a retreating tide.
+Throughout, the harmonies and emotions are
+remarkably profound and the climaxes wild. <span class="pagenum"><a name="Page_251" id="Page_251">251</a></span>
+I should call it one of the best modern piano
+compositions.</p>
+
+<p>Twelve "Fantasy Pieces" are included in
+opus 38. They are short tone-poems. The
+second, "Sylvan Spirits," is fascinating, and
+"Pretty Marie" has an irresistibly gay melody.
+He has dedicated the six songs of opus 6 to
+Robert Franz. These are written in a close
+unarpeggiated style chiefly, but they are very
+interesting in their pregnant simplicity. In
+two cases they are even impressive: the well-known
+lyric, "Im Rhein, im heiligen Strome,"
+and "Meeresstille." Opus 12 is a notable
+group of three songs: "Mists" is superbly
+harmonious. Opus 25 includes "Ask Thou
+Not the Heather Gray," a rhapsody of the
+utmost ingenuity in melody and accompaniment.
+It has a catching blissfulness and a
+verve that make it one of the best American
+songs. Opus 28 is a book called "Among
+Flowers." The music is in every case good,
+and especially satisfactory in its emancipation
+ <span class="pagenum"><a name="Page_252" id="Page_252">252</a></span>
+from the Teutonism of Foerster's earlier
+songs. The song "Among the Roses" has a
+beautiful poem, which deserves the superb
+music. It ends hauntingly with an unresolved
+major ninth chord on the dominant of
+the dominant. So the frenzy of "In Blossom
+Time" is emotion of a human, rather than a
+botanical sort. "The Cradle Song" adapts
+the Siegfried Idyl, and the "Old Proverb" is
+rollicking. The two songs of opus 34 are
+fitted with words by Byron. The three songs
+of opus 44 also make use of this poet, now so
+little in vogue with composers. There are
+three songs in opus 42: a pathetic "Little
+Wild Rose," and "By the Seaside," which
+is full of solemnity. "The Shepherd's
+Lament" is one of his best lyrics, with a
+strange accompaniment containing an inverted
+pedal-point in octaves. There are also several
+part songs.</p>
+
+<p>In larger forms, Mr. Foerster is even more
+successful. Opus 10 is a Character-piece for <span class="pagenum"><a name="Page_253" id="Page_253">253</a></span>
+full orchestra, based on Karl Sch&auml;fer's poem,
+"Thusnelda." It is short but vigorous, and
+well unified. Opus 15 is a Fantasie for
+violin and piano, the piano having really the
+better of it. The treatment is very original,
+and the strong idea well preserved. Opus 21
+is a Quartette for violin, viola, 'cello, and piano.
+The first movement begins solemnly, but
+breaks into an appassionato. All four instruments
+have an equal voice in the parley, and
+all the outbursts are emotional rather than
+contrapuntal. A climax of tremendous
+power is attained. The second movement
+omits the piano for a beautiful adagio. The
+third is an hilarious allegro, and the finale is
+an even gayer presto, with movements of
+sudden sobriety, suddenly swept away.
+Foerster calls this Quartette "far inferior" to
+a second one, opus 40. This, however, I
+have not seen; but I do not hesitate to call
+opus 21 a masterly work.</p>
+
+<p>Opus 24 is an "Albumblatt" for 'cello and <span class="pagenum"><a name="Page_254" id="Page_254">254</a></span>
+piano. It is a wonderwork of feeling and
+deep richness of harmony, of absolute sincerity
+and inspiration. Opus 29 is a Trio for
+violin, 'cello, and piano. The three begin in
+unison, andante, whence the 'cello breaks
+away, followed soon by the others, into the
+joviality of a drinking bout. There is a military
+moment, a lyric of more seriousness, and
+a finish agitato. The second movement is a
+larghetto highly embroidered. The third
+movement is a vivace with the spirit of a
+Beethoven presto.</p>
+
+<p>Opus 36 is a suite for violin and piano,
+beginning with a most engaging and most
+skilful Novelette.</p>
+
+<p>In MS. are: an elaborate ballad, "Hero
+and Leander," which, in spite of an unworthy
+postlude and certain "Tristan und Isolde"
+memories, is ardent and vivid with passion;
+"Verzweifelung," which is bitter and wild
+with despair; a suite for piano (op. 46) containing
+a waltz as ingenious as it is capti<span class="pagenum"><a name="Page_255" id="Page_255">255</a></span>vating;
+ and a finale called "Homage to
+Brahms." This is a remarkably clever piece
+of writing, which, while it lacks the Brahmsian
+trade-mark of thirds in the bass, has
+much of that composer's best manner, less
+in his tricks of speech than in his tireless
+development and his substitution of monumental
+thematicism for lyric emotion. In
+MS. is also a prelude to Goethe's "Faust"
+for full orchestra. It has very definite leading
+motives, which include "Faust's Meditations,"
+"Visions of Margarethe," "Evil"
+and "Love" (almost inversions of each other),
+"Mephistopheles," and the like. The strife
+of these elements is managed with great
+cleverness, ending beatifically with the motive
+of Gretchen dying away in the wood-wind.</p>
+
+<p>An orchestral score that has been published
+is the Dedication March for Carnegie
+Hall in Pittsburg. It begins with a long
+fanfare of horns heard behind the scenes.
+Suddenly enters a jubilant theme beginning <span class="pagenum"><a name="Page_256" id="Page_256">256</a></span>
+with Andrew Carnegie's initials, a worthy
+tribute to one to whom American music owes
+much.</p>
+
+
+<h3><br /><i>Charles Crozat Converse.</i></h3>
+
+<p>Musicians are not, as a class, prone to
+a various erudition (a compliment fully returned
+by the learned in other directions,
+who are almost always profoundly ignorant
+of the actual art of music). One of the rule-proving
+exceptions is Charles Crozat Converse,
+who has delved into many philosophies.
+An example of his versatility of interest is
+his coining of the word "thon" (a useful
+substitute for the ubiquitous awkwardness of
+"he or she" and "his or her"), which has
+been adopted by the Standard Dictionary.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="CHARLES_CROZAT_CONVERSE" id="CHARLES_CROZAT_CONVERSE"></a>
+<img src="images/converse.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">CHARLES CROZAT CONVERSE.</p>
+
+<p><br />Converse' ancestry is American as far
+back as 1630. Converse was born at Warren,
+Mass., October 7, 1832. After being
+well grounded in English and the classics,
+he went, in 1855, to Germany. Here he
+ <span class="pagenum"><a name="Page_257" id="Page_257">257</a></span>
+studied law and philosophy, and music at
+the Conservatorium in Leipzig. He enjoyed
+the instruction of Richter, Hauptmann,
+Plaidy, and Haupt, and made the acquaintance
+of Liszt and Spohr. Spohr was especially
+interested in, and influential in, his
+work, and confident of its success.</p>
+
+<p>Returning to America, he graduated from
+the Law Department of Albany University
+in 1860, with the degree of LL.B. The B
+has since been dignified into a D, as a tribute
+to his unusual accomplishments. Converse
+declined the honor of a Doctorship of
+Music from the University of Cambridge,
+offered him by its professor, the well-known
+English composer, Sterndale Bennett, in recognition
+of his mastery of lore as evinced in
+a five-voiced double fugue that ends his
+Psalm-Cantata on the 126th Psalm.</p>
+
+<p>This scholarly work was performed under
+the direction of Theodore Thomas in 1888,
+at Chicago.
+<span class="pagenum"><a name="Page_258" id="Page_258">258</a></span></p>
+
+<p>A widely known contribution to religious
+music is Converse' hymn, "What a Friend
+We Have in Jesus," which has been printed,
+so they say, in all the tongues of Christendom,
+and sold to the extent of fifty millions
+of copies. This tune occupied a warm place
+in my Sunday-schoolboy heart, along with
+other singable airs of the Moody and Sankey
+type, but as I hum it over in memory now,
+it tastes sweetish and thin. Its popularity is
+appalling, musically at least. Converse has
+written many other hymn-tunes, which have
+taken their place among ecclesiastical soporifics.
+Besides, he has recently compiled a
+collection of the world's best hymns into the
+"Standard Hymnal." In this field Converse,
+though conventional,&mdash;and conventionality
+may be considered inevitable here,&mdash;is
+mellow of harmony and sincere in sentiment.</p>
+
+<p>Numberless attempts are made to supply
+our uncomfortable lack of a distinctly na<span class="pagenum"><a name="Page_259" id="Page_259">259</a></span>tional
+ air, but few of them have that first
+requisite, a fiery catchiness, and most of
+them have been so bombastic as to pall even
+upon palates that can endure Fourth of July
+glorification. Recognizing that the trouble
+with "America" was not at all due to the
+noble words written by the man whom "fate
+tried to conceal by naming him Smith," Converse
+has written a new air to this poem.
+Unfortunately, however, his method of varying
+the much-borrowed original tune is too
+transparent. He has not discarded the idea
+at all, or changed the rhythm or the spirit.
+He has only taken his tune upward where
+"God Save the Queen" moves down, and
+bent his melody down where the British
+soars up. This, I fancy, is the chief reason
+why his national hymn has gone over to the
+great majority, and has been conspicuously
+absent from such public occasions as torchlight
+parades and ratifications.</p>
+
+<p>Except the work issued under the alias
+ <span class="pagenum"><a name="Page_260" id="Page_260">260</a></span>
+"Karl Redan," or the anagrams, "C.O.
+Nevers" and "C.E. Revons," his only secular
+musics that have been put into print are
+his American Overture, published in Paris,
+and a book of six songs, published in Germany.</p>
+
+<p>Music is called the universal language, but
+it has strongly marked dialects, and sometimes
+a national flavor untranslatable to
+foreign peoples. So with these six songs, not
+the words alone are German. They are
+based on a Teutonic, and they modulate only
+from Berlin to Braunschweig and around
+to Leipzig. While the songs repay study,
+they are rather marked by a pianistic meditation
+than a strictly lyric emotion. "Aufmunterung
+zur Freude" is a tame allegretto;
+"Wehmuth" is better; "T&auml;uschung" is a
+short elegy of passion and depth; "Ruhe in
+der Geliebten" is best in its middle strain
+where it is full of rich feeling and harmony.
+The ending is cheap. "Der gefangene S&auml;n<span class="pagenum"><a name="Page_261" id="Page_261">261</a></span>ger"
+ is only a slight variant at first on the
+"Adieu" credited to Schubert; it is thereafter
+excellent.</p>
+
+<p>Converse has a large body of music in
+manuscript, none of which I had the pleasure
+of examining save a tender sacred lullaby.
+There are two symphonies, ten suites, and
+concert overture, three symphonic poems, an
+oratorio, "The Captivity," six string quartettes,
+and a mass of psalmodic and other
+vocal writing.</p>
+
+<p>Of these works three have been produced
+with marked success: the "Christmas Overture,"
+at one of the public concerts of the
+Manuscript Society, under the direction of
+Walter Damrosch; the overture "Im Fr&uuml;hling,"
+at concerts in Brooklyn and New York,
+under the baton of Theodore Thomas; and
+the American overture, "Hail Columbia!"
+at the Boston Peace Jubilee under Patrick
+Gilmore, at the Columbian Exposition under
+Thomas, and in New York under Anton Seidl.
+<span class="pagenum"><a name="Page_262" id="Page_262">262</a></span></p>
+
+<p>This last overture received the distinction
+of publication at Paris, by Schott et Cie. It
+is built on the rousing air of "Hail, Columbia!"
+This is suggested in the slow minor
+introduction; the air itself is indicated
+thematically as one of the subjects later
+appearing in full swing in a coda. The instrumentation
+is brilliant and the climax
+overwhelming.</p>
+
+<p>Altogether the work is more than adroit
+musical composition. It is a prairie-fire of
+patriotism.</p>
+
+
+<h3><br /><i>L.A. Coerne.</i></h3>
+
+<p>A grand opera by an American on an
+American subject is an achievement to look
+forward to. Though I have not seen this
+opera, called "A Woman of Marblehead," it
+is safe to predict, from a study of its composer's
+other works, that it is a thing of
+merit.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="LOUIS_ADOLPHE_COERNE" id="LOUIS_ADOLPHE_COERNE"></a>
+<img src="images/coerne.png" width="275" height="400" alt="" />
+</p>
+
+<p class="caption">LOUIS ADOLPHE COERNE.</p>
+
+<p><br />Louis Adolphe Coerne, who wrote the
+ <span class="pagenum"><a name="Page_263" id="Page_263">263</a></span>
+music for this opera, was born in Newark,
+N.J., in 1870, and spent the years from six
+to ten in music study abroad, at Stuttgart
+and Paris. Returning to America, he entered
+Harvard College and studied harmony and
+composition under John Knowles Paine. He
+studied the violin under Kneisel. In 1890
+he went to Munich, where he studied the
+organ and composition at the Royal Academy
+of Music, under Rheinberger, and the violin
+under Hieber. He now decided to give up
+the career of a violinist for that of composer,
+conductor, and organist. In 1893 he returned
+to Boston and acted as organist. A year
+later he went to Buffalo, where for three
+years he directed the Liedertafel.</p>
+
+<p>While in Harvard, Coerne had composed
+and produced a concerto for violin and 'cello
+with string orchestra accompaniment, a fantasy
+for full orchestra, and a number of
+anthems which were performed at the university
+chapel. While in Munich and Stutt<span class="pagenum"><a name="Page_264" id="Page_264">264</a></span>gart
+ he wrote and produced a string suite, an
+organ concerto with accompaniment of strings,
+horns, and harps, three choral works, and a
+ballet, "Evadne," on a subject of his own.
+His symphonic poem on Longfellow's "Hiawatha"
+was also produced there with much
+success under his personal direction, and later
+by the Boston Symphony Orchestra. He was
+invited then by Theodore Thomas to attend
+the World's Fair at Chicago, to give recitals
+on the great organ in Festival Hall.</p>
+
+<p>It has been my misfortune not to have
+heard or seen hardly any of his writings except
+the published "Character Pieces" from
+the ballet "Evadne" (op. 155). A "Clown's
+Dance" in bolero rhythm is delightful. The
+"Introduction to Act II." contains many
+varied ideas and one passage of peculiar
+harmonic beauty. A "Valse de Salon" has
+its good bits, but is rather overwrought. A
+"Devil's Dance" introduces some excellent
+harmonic effects, but the "Waltz with Chorus
+ <span class="pagenum"><a name="Page_265" id="Page_265">265</a></span>
+and Finale" is the best number of the opus.
+It begins in the orchestra with a most irresistible
+waltz movement that is just what a
+waltz should be. A chorus is then superimposed
+on this rhapsody, and a climax of superb
+richness attained.</p>
+
+<p>For the organ Coerne has written much
+and well. There is an adaptation of three
+pieces from the string quartette (op. 19); a
+graceful Minuet, a quaint Aria, and a Fugue.
+Then there are three Marches, which, like
+most marches written by contemplative musicians,
+are rather thematic than spirited, and
+marked by a restless and elaborate preparation
+for some great chant that is longed for,
+but never comes. Besides these, there are a
+very pleasant Pastoral, a good Elevation, and
+a Nocturne.</p>
+
+<p>Coerne's symphonic poem, "Hiawatha," has
+been arranged for the piano for four hands,
+and there is also an arrangement for violin or
+violoncello and piano, but I have not seen
+ <span class="pagenum"><a name="Page_266" id="Page_266">266</a></span>
+these. The thing we are all waiting for is
+that American grand opera, "A Woman of
+Marblehead." It is to be predicted that she
+will not receive the marble heart.
+</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_267" id="Page_267">267</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+<h3>THE COLONISTS.</h3>
+
+
+<p><br /><span class="smcap">Art</span> does not prosper as hermit. Of
+course, every great creator has a certain
+aloofness of soul, and an inner isolation; but
+he must at times submit his work to the comparison
+of his fellow artists; he must profit
+by their discoveries as well as their errors;
+he must grow overheated in those passionate
+musical arguments that never convince any
+one out of his former belief, and serve salutarily
+to raise the temper, cultivate caloric,
+and deepen convictions previously held;
+he must exchange criticisms and discuss
+standards with others, else he will be eternally
+making discoveries that are stale and unprofitable
+to the rest of the world; he will
+ <span class="pagenum"><a name="Page_268" id="Page_268">268</a></span>
+seek to reach men's souls through channels
+long dammed up, and his achievements will
+be marred by na&iuml;ve triteness and primitive
+crudeness.</p>
+
+<p>So, while the artistic tendency may be a
+universal nervous system, artists are inclined
+to ganglionate. The nerve-knots vary in size
+and importance, and one chief ganglion may
+serve as a feeding brain, but it cannot monopolize
+the activity. In America, particularly,
+these ganglia, or colonies, are an interesting
+and vital phase of our development. For a
+country in which the different federated states
+are, many of them, as large as old-world kingdoms,
+it is manifestly impossible for any one
+capital to dominate. Furthermore, the national
+spirit is too insubordinate to accept any
+centre as an oracle.</p>
+
+<p>New York, which has certainly drawn to
+itself a preponderance of respectable composers,
+has yet been unable to gather in
+many of the most important, and like the
+ <span class="pagenum"><a name="Page_269" id="Page_269">269</a></span>
+French Academy, must always suffer in
+prestige because of its conspicuous absentees.
+In the second place, New York is the least
+serious and most fickle city in the country,
+and is regarded with mingled envy and patronage
+by other cities.</p>
+
+<p>Boston is even more unpopular with the
+rest of the country. And New York and
+other cities have enticed away so many of
+the leading spirits of her musical colony, that
+she cannot claim her once overwhelming
+superiority. And yet, Boston has been, and
+is, the highest American representative of
+that much abused term, culture. Of all the
+arts, music doubtless gets her highest favor.</p>
+
+<p>The aid Boston has been to American
+music is vital, and far outweighs that of any
+other city. That so magnificent an organization
+as its Symphony Orchestra could be so
+popular, shows the solidity of its general art
+appreciations. The orchestra has been remarkably
+willing, too, to give the American
+ <span class="pagenum"><a name="Page_270" id="Page_270">270</a></span>
+composer a chance to be heard. Boston has
+been not only the promulgator, but in a
+great measure the tutor, of American music.</p>
+
+<p>In Boston-town, folk take things seriously
+and studiously. In New York they take
+them fiercely, whimsically. Like most generalizations,
+this one has possibly more exceptions
+than inclusions. But it is convenient.</p>
+
+<p>It is convenient, too, to group together such
+of the residents of these two towns, as I have
+not discussed elsewhere. The Chicago coterie
+makes another busy community; and St.
+Louis and Cleveland have their activities of
+more than intramural worth; Cincinnati,
+which was once as musically thriving as its
+strongly German qualities necessitated, but
+which had a swift and strange decline, seems
+to be plucking up heart again. For this, the
+energy of Frank van der Stucken is largely
+to credit. Aside from the foreign-born composers
+there, one should mention the work of
+Richard Kieserling, Jr., and Emil Wiegand.
+ <span class="pagenum"><a name="Page_271" id="Page_271">271</a></span>
+The former went to Europe in 1891 and
+studied at the Leipzig Conservatory, under
+Reinecke, Homeyer, Rust, Schreck and Jadassohn.
+He also studied conducting under
+Sitt. At his graduation, he conducted a performance
+of his own composition, "Jeanne
+d'Arc." He returned to his native city, Cincinnati,
+in 1895, where he has since remained,
+teaching and conducting. Among his works,
+besides piano pieces and songs, are: "A May
+Song," for women's chorus and piano; six
+pieces for violin and piano; "Harold," a ballad
+for male chorus, barytone solo, and orchestra;
+"Were It Not For Love," composed for
+male chorus; several sets of male choruses;
+a motet for mixed chorus a cappella; a berceuse
+for string orchestra, an introduction
+and rondo for violin and orchestra; and a
+"Marche Nuptiale," for grand orchestra.</p>
+
+<p>Emil Wiegand was also born in Cincinnati,
+and had his first tuition on the violin
+from his father. His theoretical studies have
+ <span class="pagenum"><a name="Page_272" id="Page_272">272</a></span>
+been received entirely in Cincinnati. He is
+a member of the local Symphonic Orchestra,
+and has composed an overture for grand
+orchestra, a string quartette, and various
+pieces for the violin, piano, and voice.</p>
+
+<p>In San Francisco there is less important
+musical composition than there was in the
+days when Kelley and Page were active there.
+The work of H.B. Pasmore is highly commended
+by <i>cognoscenti</i>, as are also the works
+of Frederick Zeck, Jr., who was born in San
+Francisco, studied in Germany, and has
+composed symphonies, a symphonic poem,
+"Lamia," a romantic opera, and other works;
+Samuel Fleischmann, born in California and
+educated abroad, a concert pianist, who has
+written, among other things, an overture,
+"Hero and Leander," which was performed
+in New York; and P.C. Allen, who studied
+in Europe, and has written well.</p>
+
+<p>But the larger cities do not by any means
+contain all the worthy composition. In
+ <span class="pagenum"><a name="Page_273" id="Page_273">273</a></span>
+many smaller cities, and in a few villages
+even, can be found men of high culture and
+earnest endeavor.</p>
+
+<p>In Yonkers, New York, is Frederick R.
+Burton, who has written a dramatic cantata
+on Longfellow's "Hiawatha," which has been
+frequently performed. In this work use is
+made of an actual Indian theme, which was
+jotted down by H.E. Krehbiel, and is worked
+up delightfully in the cantata, an incessant
+thudding of a drum in an incommensurate
+rhythm giving it a decidedly barbaric tone.
+The cantata contains also a quaint and touching
+contralto aria, and a pathetic setting of
+the death-song of Minnehaha. Burton is a
+graduate of Harvard, and a writer as well
+as a composer. He organized, in 1896, the
+Yonkers Choral Society, of which he is
+conductor.</p>
+
+<p>At Hartford, Conn., is Nathan H. Allen,
+who was born in Marion, Mass., in 1848. In
+1867 he went to Berlin, where he was a pupil
+ <span class="pagenum"><a name="Page_274" id="Page_274">274</a></span>
+of Haupt for three years. In this country
+he has been active as an organist and
+teacher. Many of his compositions of sacred
+music have been published, including a cantata,
+"The Apotheosis of St. Dorothy."</p>
+
+<p>At Providence, R.I., a prominent figure
+is Jules Jordan, who was born at Willimantic,
+Conn., November 10, 1850, of colonial
+ancestry. Though chiefly interested in oratorio
+singing, in which he has been prominent,
+he has written a number of songs, some
+of which have been very popular. The best
+of these are a rapturous "Love's Philosophy,"
+a delicious "Dutch Lullaby," "An Old
+Song," and "Stay By and Sing." He has
+written some religious songs, part songs, and
+three works for soli, chorus, and orchestra,
+"Windswept Wheat," "A Night Service,"
+and "Barbara Frietchie;" also "Joel," a dramatic
+scene for soprano and orchestra, sung
+at the Worcester Musical Festival by Mme.
+Nordica. This I have not seen, nor his
+ <span class="pagenum"><a name="Page_275" id="Page_275">275</a></span>
+romantic opera, "Rip Van Winkle." In June,
+1895, Brown University conferred on him
+the degree of Doctor of Music. Two albums
+of his songs are published.</p>
+
+<p>A writer of many religious solos and part
+songs is E.W. Hanscom, who lives in
+Auburn, Me. He was born at Durham,
+in the same State, December 28, 1848. He
+has made two extended visits to London,
+Berlin and Vienna, for special work under
+eminent teachers, but has chiefly studied
+in Maine. Besides his sacred songs Hanscom
+has published a group of six songs, all
+written intelligently, and an especially good
+lyric, "Go, Rose, and in Her Golden Hair,"
+a very richly harmonized "Lullaby," and two
+"Christmas Songs," with violin obbligato.</p>
+
+<p>In Delaware, Ohio, at the Ohio Wesleyan
+University, is a composer, Willard J. Baltzell,
+who has found inspiration for many worthy
+compositions, but publishers for only two,
+both of these part songs, "Dreamland" and
+ <span class="pagenum"><a name="Page_276" id="Page_276">276</a></span>
+"Life is a Flower," of which the latter is
+very excellent writing.</p>
+
+<p>Baltzell was for some years a victim of the
+musical lassitude of Philadelphia. He had
+his musical training there. He has written
+in the large forms a suite founded on Rossetti's
+"Love's Nocturne," an overture,
+"Three Guardsmen," a "Novelette" for orchestra,
+a cantata, "The Mystery of Life,"
+and an unfinished setting of Psalm xvii. with
+barytone solo. These are all scored for
+orchestra, and the manuscript that I have
+seen shows notable psychological power.
+Other works are: a string quartette, a trio,
+"Lilith," based on Rossetti's poem, "Eden
+Bower," a nonet, and a violin sonata. He
+has also written for the piano and organ
+fugues and other works. These I have not
+seen; but I have read many of his songs in
+manuscript, and they reveal a remarkable
+strenuousness, and a fine understanding of
+the poetry. His song, "Desire," is full of
+ <span class="pagenum"><a name="Page_277" id="Page_277">277</a></span>
+high-colored flecks of harmony that dance
+like the golden motes in a sunbeam. His
+"Madrigal" has much style and humor.
+He has set to music a deal of the verse of
+Langdon E. Mitchell, besides a song cycle,
+"The Journey," which is an interesting failure,&mdash;a
+failure because it cannot interest
+any public singer, and interesting because of
+its artistic musical landscape suggestion; and
+there are the songs, "Fallen Leaf," which is
+deeply morose, and "Loss," which has some
+remarkable details and a strange, but effective,
+ambiguous ending. Other songs are a
+superbly rapturous setting of E.C. Stedman's
+"Thou Art Mine," and a series of
+songs to the words of Richard Watson Gilder,
+a poet who is singularly interesting to composers:
+"Thistledown" is irresistibly volatile;
+"Because the Rose Must Fade" has
+a nobility of mood; "The Winter Heart"
+is a powerful short song, and "Woman's
+Thought," aside from one or two dangerous
+ <span class="pagenum"><a name="Page_278" id="Page_278">278</a></span>
+moments, is stirring and intense. Baltzell
+writes elaborate accompaniments, for which
+his skill is sufficient, and he is not afraid
+of his effects.</p>
+
+<p>In the far Xanadu of Colorado lives Rubin
+Goldmark, a nephew of the famous Carl
+Goldmark. He was born in New York in
+1872. He attended the public schools and
+the College of the City of New York. At
+the age of seven he began the study of the
+piano with Alfred M. Livonius, with whom
+he went to Vienna at the age of seventeen.
+There he studied the piano with Anton Door,
+and composition with Fuchs, completing in
+two years a three years' course in harmony
+and counterpoint. Returning to New York,
+he studied with Rafael Joseffy and with
+Doctor Dv&ocirc;r&aacute;k for one year. In 1892 he
+went to Colorado Springs for his health.
+Having established a successful College of
+Music there, he has remained as its director
+and as a lecturer on musical topics.
+<span class="pagenum"><a name="Page_279" id="Page_279">279</a></span></p>
+
+<p>At the age of nineteen he wrote his
+"Theme and Variations" for orchestra.
+They were performed under Mr. Seidl's
+leadership in 1895 with much success. Their
+harmonies are singularly clear and sweet, of
+the good old school. At the age of twenty
+Goldmark wrote a trio for piano, violin, and
+'cello. After the first performance of this
+work at one of the conservatory concerts,
+Doctor Dv&ocirc;r&aacute;k exclaimed, "There are now
+two Goldmarks." The work has also had
+performance at the concerts of the Kaltenborn
+Quartette, and has been published. It
+begins with a tentative questioning, from
+which a serious allegro is led forth. It is
+lyrical and sane, though not particularly
+modern, and certainly not revolutionary in
+spirit. The second movement, a romanza,
+shows more contrapuntal resource, and is full
+of a deep yearning and appeal,&mdash;an extremely
+beautiful movement. The scherzo evinces a
+taking jocosity with a serious interval. The
+ <span class="pagenum"><a name="Page_280" id="Page_280">280</a></span>
+piano part is especially humorous. The finale
+begins with a touch of Ethiopianism that is
+perhaps unconscious. The whole movement
+is very original and quaint.</p>
+
+<p>Goldmark's music shows a steady development
+from a conservative simplicity to a
+modern elaborateness, a development thoroughly
+to be commended if it does not lead
+into obscurity. This danger seems to threaten
+Goldmark's career, judging from his cantata
+for chorus and orchestra, the "Pilgrimage to
+Kevlaar," which, while highly interesting in
+places, and distinctly resourceful, is too abstruse
+and gloomy to stand much chance of
+public understanding.</p>
+
+<p>Many of the works that I have had the
+privilege of examining in MS. have since
+been published; there is much originality,
+much attainment, and more promise in a
+number of his songs. His setting of Marlowe's
+"Come Live with Me," in spite of a
+few eccentricities, shows, on the whole, a
+<span class="pagenum"><a name="Page_281" id="Page_281">281</a></span>
+great fluency of melody over an elaborately
+beautiful accompaniment. His solemn and
+mysterious "Forest Song" could deserve
+the advertisement of being "drawn from the
+wood." "Die erste Liebe" shows a contemplative
+originality in harmony, and ends with
+a curious dissonance and resolution. "O'er
+the Woods' Brow" is very strange and interesting,
+though somewhat abstruse. Less so
+is a song, "An den Abendsstern;" it has a
+comparison-forcing name, but is a delightful
+song. "Es muss ein Wunderbares sein" is
+notable for novel effects in harmonies of
+crystal with light dissonances to edge the
+facets. A sonata for piano and violin and
+a romanza for 'cello have been published,
+and his "Hiawatha" overture has been played
+by the Boston Symphony Orchestra. On
+this occasion the always quoteworthy mezzotintist,
+James Huneker, wrote:</p>
+
+<div class="blockquot">
+<p>"The nephew of a very remarkable composer,&mdash;for
+Carl Goldmark outranks to-day all the Griegs,
+<span class="pagenum"><a name="Page_282" id="Page_282">282</a></span>
+ Massenets, Mascagnis, Saint-Sa&euml;ns, and Dv&ocirc;r&aacute;ks you
+can gather,&mdash;he needs must fear the presence in his
+scores of the avuncular apparition. His 'Hiawatha'
+overture was played by Mr. Gericke and the Boston
+Symphony Orchestra Wednesday of last week. At
+the first cantilena on the strings I nearly jumped out
+of my seat. It was bewilderingly luscious and Goldmarkian,&mdash;a
+young Goldmark come to judgment.
+The family gifts are color and rhythm. This youth
+has them, and he also has brains. Original invention
+is yet to come, but I have hopes. The overture,
+which is not Indian, is full of good things, withal too
+lengthy in the free fantasia. There is life, and while
+there's life there's rhythm, and a nice variety there
+is. The allegro has one stout tune, and the rush and
+dynamic glow lasts. He lasts, does Rubin Goldmark,
+and I could have heard the piece through
+twice. The young American composer has not been
+idle lately."</p>
+</div>
+
+<h3><br /><i>The New York Colony.</i></h3>
+
+<p>In every period where art is alive there
+must be violent faction, and wherever there
+is violent faction there is sure to be a <i>tertium
+quid</i> that endeavors to bridge the quarrel.
+ <span class="pagenum"><a name="Page_283" id="Page_283">283</a></span>
+The Daniel Websters call forth the Robert
+Haynes, and the two together evoke the
+compromisers, the Henry Clays.</p>
+
+<p>In the struggle between modernity and
+classicism that always rages when music is in
+vitality, one always finds certain ardent spirits
+who endeavor to reconcile the conflicting
+theories of the different schools, and to
+materialize the reconciliation in their own
+work. An interesting example of this is to
+be found in the anatomical construction of
+one of the best American piano compositions,
+the fantasy for piano and orchestra by
+Arthur Whiting.</p>
+
+<p>The composer has aimed to pay his respects
+to the classic sonata formula, and at the same
+time to warp it to more romantic and modern
+usages. The result of his experiment is a
+form that should interest every composer.
+As Whiting phrases it, he has "telescoped"
+the sonata form. The slow introduction
+prepares for the first and second subjects,
+ <span class="pagenum"><a name="Page_284" id="Page_284">284</a></span>
+which appear, as usual, except that they are
+somewhat developed as they appear. Now,
+in place of the regular development, the
+pastoral movement is brought forward. This
+is followed by the reprise of the first and
+second subjects. Then the finale appears.
+All of these movements are performed without
+pause, and the result is so successful that
+Whiting is using the same plan for a quintette.</p>
+
+<p>Handwriting experts are fond of referring
+to the "picture effect" of a page of writing.
+It is sometimes startling to see the resemblance
+in "picture effect" between the music
+pages of different composers. The handsomely
+abused Perosi, for instance, writes
+many a page, which, if held at arm's length,
+you would swear was one of Palestrina's.
+Some of Mr. Whiting's music has a decidedly
+Brahmsic picture effect. This feeling is
+emphasized when one remembers the enthusiasm
+shown for Brahms in Whiting's concerts,
+ <span class="pagenum"><a name="Page_285" id="Page_285">285</a></span>
+where the works of the Ursus Minor of
+Vienna hold the place of honor. The resemblance
+is only skin deep, however, and
+Whiting's music has a mind of its own.</p>
+
+<p>The fantasy in question (op. 11) is full of
+individuality and brilliance. The first subject
+is announced appassionato by the strings,
+the piano joining with arabesquery that follows
+the general outlines. After this is
+somewhat developed, the second subject
+comes in whimsically in the relative major.
+This is written with great chromatic lusciousness,
+and is quite liberally developed. It
+suddenly disappears into what is ordinarily
+called the second movement, a pastoral, in
+which the piano is answered by the oboe,
+flute, clarinet, and finally the horn. This is
+gradually appassionated until it is merged
+into the reprise of the first movement proper.
+During this reprise little glints of reminiscence
+of the pastoral are seen. A coda of
+great bravery leads to the last movement,
+<span class="pagenum"><a name="Page_286" id="Page_286">286</a></span>
+which is marked "scherzando," but is rather
+martial in tone. The decidedly noble composition
+ends with great brilliancy and strength.
+It is published for orchestral score and for
+two pianos.</p>
+
+<p>Whiting was born in Cambridge, Mass.,
+June 20, 1861. He studied the piano with
+William H. Sherwood, and has made a successful
+career in concert playing with the
+Boston Symphony Orchestra and the Kneisel
+Quartette, both of which organizations have
+performed works of his. In 1883 he went
+to Munich for two years, where he studied
+counterpoint and composition with Rheinberger.
+He is now living in New York as a
+concert pianist and teacher.</p>
+
+<p>Four works of his for the piano are: "Six
+Bagatelles," of which the "Caprice" has a
+charming infectious coda, while the "Humoreske"
+is less simple, and also less amusing.
+The "Album Leaf" is a pleasing whimsy,
+and the "<a href="#IDYLLE">Idylle</a>" is as delicate as fleece. Of<span class="pagenum"><a name="Page_288" id="Page_288">288</a></span>
+the three "Characteristic Waltzes," the
+"Valse Sentimentale" is by far the most interesting.
+It manages to develop a sort of
+harmonic haze that is very romantic.<br /><br /></p>
+
+<div class="musicbox">
+<a name="IDYLLE" id="IDYLLE"></a>
+
+<h2><br />Idylle.</h2>
+
+<p class="center">[<a href="music/idyllewhiting.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em"><b>ARTHUR WHITING.</b></span></p>
+
+<p class="center">
+<img src="images/idylle.png" width="700" height="924" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1895, by G. Schirmer.</b></span></p>
+
+<p class="caption">A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />For the voice, Whiting has written little.
+Church music interests him greatly, and he
+has written various anthems, a morning and
+evening service, which keeps largely to the
+traditional colors of the Episcopal ecclesiastical
+manner, yet manages to be fervent without
+being theatrical. A trio, a violin sonata,
+and a piano quintette, a suite for strings,
+and a concert overture for orchestra complete
+the list of his writings.</p>
+
+<p>On the occasion of a performance of Whiting's
+"Fantasy," Philip Hale thus picturesquely
+summed him up:</p>
+
+<div class="blockquot">
+<p>"In times past I have been inclined to the opinion
+that when Mr. Whiting first pondered the question of
+a calling he must have hesitated between chess and
+music. His music seemed to me full of openings
+and gambits and queer things contrived as in a game.
+ <span class="pagenum"><a name="Page_289" id="Page_289">289</a></span>
+He was the player, and the audience was his antagonist.
+Mr. Whiting was generally the easy conqueror.
+The audience gave up the contest and admired the
+skill of the musician.</p>
+
+<p>"You respected the music of Mr. Whiting, but you
+did not feel for it any personal affection. The music
+lacked humanity. Mr. Whiting had, and no doubt
+has, high ideals. Sensuousness in music seemed to
+him as something intolerable, something against public
+morals, something that should be suppressed by
+the selectmen. Perhaps he never went so far as to
+petition for an injunction against sex in music; but
+rigorous intellectuality was his one aim. He might
+have written A Serious Call to Devout and Holy
+Composition, or A Practical Treatise upon Musical
+Perfection, to which is now added, by the same
+author, The Absolute Unlawfulness of the Stage
+Entertainment Fully Demonstrated.</p>
+
+<p>"There was almost intolerance in Mr. Whiting's
+musical attitude. He himself is a man of wit rather
+than humor, a man with a very pretty knack at
+sarcasm. He is industrious, fastidious, a severe judge
+of his own works. As a musician he was even in his
+dryest days worthy of sincere respect.</p>
+
+<p>"Now this fantasia is the outward and sure expression
+of a change in Mr. Whiting's way of musical
+thinking, and the change is decidedly for the better.
+ <span class="pagenum"><a name="Page_290" id="Page_290">290</a></span>
+There is still a display of pure intellectuality; there
+is still a solving of self-imposed problems; but Mr.
+Whiting's musical enjoyment is no longer strictly
+selfish. Here is a fantasia in the true sense of the
+term; form is here subservient to fancy. The first
+movement, if you wish to observe traditional terminology,
+is conspicuous chiefly for the skill, yes, fancy,
+with which thematic material of no marked apparent
+inherent value is treated. The pastorale is fresh and
+suggestive. The ordinary pastorale is a bore. There
+is the familiar recipe: take an oboe the size of an
+egg, stir it with a flute, add a little piano, throw in a
+handful of muted strings, and let the whole gently
+simmer in a 9-8 stew-pan. But Mr. Whiting has
+treated his landscape and animal kingdom with rare
+discretion. The music gave pleasure; it soothed by
+its quiet untortured beauty, its simplicity, its discretion.
+And in like manner, without receiving or
+desiring to receive any definite, precise impression,
+the finale interested because it was not a hackneyed
+form of brilliant talk. The finale is something more
+than clever, to use a hideous term that I heard applied
+to it. It is individual, and this praise may be awarded
+the whole work. Remember, too, that although this
+is a fantasia, there is not merely a succession of unregulated,
+uncontrolled, incoherent sleep-chasings.</p>
+
+<p>"In this work there is a warmer spirit than that
+ <span class="pagenum"><a name="Page_291" id="Page_291">291</a></span>
+which animated or kept alive Mr. Whiting's former
+creations. There is no deep emotion, there is no
+sensuousness, there is no glowing color, no 'color
+of deciduous days.' These might be incongruous
+in the present scheme. But there is a more pronounced
+vitality, there is a more decided sympathy
+with the world and men and women; there is more
+humanity.</p>
+
+<p>"The piano is here an orchestral instrument, and as
+such it was played admirably by Mr. Whiting. His
+style of playing is his own, even his tone seems peculiarly
+his own, with a crispness that is not metallic,
+with a quality that deceives at first in its carrying
+power. His performance was singularly clean and
+elastic, its personality was refreshing. He played
+the thoughts of Mr. Whiting in Mr. Whiting's way.
+And thus by piece and performance did he win a
+legitimate success."</p>
+</div>
+
+<p class="border" style="text-align: center"><br />
+<a name="HENRY_HOLDEN_HUSS" id="HENRY_HOLDEN_HUSS"></a>
+<img src="images/huss.png" width="279" height="400" alt="" />
+</p>
+
+<p class="caption">HENRY HOLDEN HUSS.</p>
+
+<p><br />Many American composers have had their
+first tuition from their mothers; few from
+their fathers. Mr. Huss is one of the latter
+few. The solidity of his musical foundation
+bespeaks a very correct beginning. He was
+born in Newark, N.J., June 21, 1862. His
+first teacher in the theory of music was
+<span class="pagenum"><a name="Page_292" id="Page_292">292</a></span> Otis B. Boise,
+ who has been for the last twenty years a
+teacher of theory in Berlin, though he was born in this country. Huss
+went to Munich in 1883 and remained three years. He studied counterpoint
+under Rheinberger, and won public mention for proficiency. At his second
+examination his idyl for small orchestra, "In the Forest," was produced;
+and at his graduation he performed his "Rhapsody" in C major for piano
+and orchestra. A year after his return to America this work was given by
+the Boston Symphony Orchestra. A year later Van der Stucken gave it at
+the first of his concerts of American compositions. The next year Huss'
+"Ave Maria," for women's voices, string orchestra, harp, and organ, was
+given a public hearing. The next year he gave a concert of his own
+works, and the same year, 1889, Van der Stucken produced his violin
+romance and polonaise for violin and orchestra at the Paris Exposition.</p>
+
+<p><span class="pagenum"><a name="Page_293" id="Page_293">293</a></span>His piano concerto for piano and orchestra
+ he played first with the
+Boston Symphony Orchestra in 1894, and has given it on numerous
+occasions since.</p>
+
+<p>Other works, most of which have also been published, are: "The
+Fountain," for women's voices a cappella; a festival "Sanctus," for
+chorus and orchestra; an "Easter Theme," for chorus, organ, and
+orchestra; "The Winds," for chorus and orchestra, with soprano and alto
+solos; a "Festival March," for organ and orchestra; a concerto for
+violin, and orchestra; a trio for piano, violin, and 'cello; a "Prélude
+Appassionata," for the piano, dedicated to and played by Miss Adèle aus
+der Ohe, to whom the concerto is also dedicated.</p>
+
+<p>This concerto, which is in D major, is a good example of the
+completeness of Huss' armory of resources. The first movement has the
+martial pomp and hauteur and the Sardanapalian opulence and color that mark
+ <span class="pagenum"><a name="Page_294" id="Page_294">294</a></span>
+a barbaric triumph. Chopin has been the
+evident model, and the result is always pianistic
+even at its most riotous point. Huss
+has ransacked the piano and pillaged almost
+every imaginable fabric of high color. The
+great technical difficulties of the work are entirely
+incidental to the desire for splendor.
+The result is gorgeous and purple. The andante
+is hardly less elaborate than the first
+movement, but in the finale there is some
+laying off of the <i>impedimenta</i> of the pageant,
+as if the paraders had put aside the magnificence
+for a period of more informal festivity.
+The spirit is that of the scherzo, and the
+main theme is the catchiest imaginable, the
+rhythm curious and irresistible, and the entire
+mood saturnalian. In the coda there
+is a reminder of the first movement, and the
+whole thing ends in a blaze of fireworks.</p>
+
+<p>On the occasion of its first performance
+in Cincinnati, in 1889, Robert I. Carter
+wrote:
+<span class="pagenum"><a name="Page_295" id="Page_295">295</a></span></p>
+
+<div class="blockquot">
+<p>"It is pre&euml;minently a symphonic work, in which
+the piano is used as a voice in the orchestra, and
+used with consummate skill. The charm of the work
+lies in its simplicity. The pianist will tell you at
+once that it is essentially pianistic, a term that is
+much abused and means little. The traditional cadenza
+is there, but it is not allowed to step out of the
+frame, and so perfect is the relation to what precedes
+and follows, that the average listener might claim
+that it does not exist. Without wishing to venture
+upon any odious grounds of comparison, I want to
+state frankly that it is, to me, emphatically the best
+American concerto."</p></div>
+
+<p>Huss is essentially a dramatic and lyric
+composer, though he seems to be determined
+to show himself also a thematic composer of
+the old school. In his trio, which I heard
+played by the Kaltenborn Quartette, both
+phases of his activity were seen. There was
+much odor of the lamp about the greater
+part of the trio, which seemed generally
+lacking that necessary capillarity of energy
+which sometimes saturates with life-sap the
+most formal and elaborate counterpoint of the
+ <span class="pagenum"><a name="Page_296" id="Page_296">296</a></span>
+pre-romantic strata. The andante of the trio,
+however, displayed Huss' singularly appealing
+gift of song. It abounded in emotion,
+and was&mdash;to use the impossible word Keats
+coined&mdash;"yearnful." Huss should write
+more of this sort of music. We need its rare
+spontaneity and truth, as we do not need the
+all too frequent mathematics of those who
+compose, as Tybalt fought, "by the book."</p>
+
+<p>For the piano there are "Three Bagatelles":
+an "&Eacute;tude Melodique," which is
+rather harmonic than melodic; an "Albumblatt,"
+a graceful movement woven like a
+Schumann arabesque; and a "Pastoral," in
+which the gracefulness of the music given to
+the right hand is annulled by the inexplicable
+harshness of that given to the left.</p>
+
+<p>For the voice, there is, of course, a setting
+of "Du bist wie eine Blume," which, save for
+the fact that it looks as if the accompaniment
+were written first, is a very pure piece of
+writing. The "Song of the Syrens" is a
+ <span class="pagenum"><a name="Page_297" id="Page_297">297</a></span>
+strong composition with a big climax, the
+"Jessamine Bud" is extremely delicate, and
+"They that Sow in Tears" has much dignity.
+There are two songs from Tennyson, "There
+is Sweet Music Here" and "Home They
+Brought Her Warrior Dead," with orchestral
+accompaniment.</p>
+
+<p>By all odds the most important, and a
+genuinely improved composition is the aria
+for soprano and orchestra, "The Death of
+Cleopatra." The words are taken from
+Shakespeare's play and make use of the
+great lines given to the dying Egypt,
+"Give me my robe, put on my crown, I
+have immortal longings in me," and the rest.
+The music not only pays all due reverence
+to the sacred text, but is inspired by it, and
+reaches great heights of fervor and tragedy.
+From Shakespeare, Huss drew the afflation
+for another aria of great interest, a setting
+for barytone voice of the "Seven Ages of
+Man." The problems attending the putting
+ <span class="pagenum"><a name="Page_298" id="Page_298">298</a></span>
+to music of Shakespeare's text are severe;
+but the plays are gold mines of treasure for
+the properly equipped musician.</p>
+
+<p>A vivid example of the difficulties in the
+way of American composers' securing an
+orchestral hearing is seen in the experience
+of Howard Brockway, who had a symphony
+performed in 1895 by the Berlin Philharmonic
+Orchestra, and has been unable to
+get a hearing or get the work performed in
+America during the five years following, in
+spite of the brilliancy of the composition.
+The scoring of the work is so mature that
+one can see its skill by a mere glance at the
+page from a distance. When the work was
+performed in Germany, it was received with
+pronounced favor by the Berlin critics, who
+found in it a conspicuous absence of all those
+qualities which the youth of the composer
+would have made natural.</p>
+
+<p>Brockway was born in Brooklyn, November
+22, 1870, and studied piano with H.O.C.
+<span class="pagenum"><a name="Page_299" id="Page_299">299</a></span>
+Kortheuer from 1887 to 1889. He went
+to Berlin at the age of twenty and studied
+the piano with Barth, and composition with
+O.B. Boise, the transplanted American.
+Boise gave Brockway so thorough a training
+that he may be counted one of the most
+fluent and completely equipped American
+composers. At the age of twenty-four he
+had finished his symphony (op. 12), a ballade
+for orchestra (op. 11), and a violin and
+piano sonata (op. 9), as well as a cavatina
+for violin and orchestra. These, with certain
+piano solos, were given at a concert of Brockway's
+own works in February, 1895, at the
+Sing-Akademie. His works were accepted
+as singularly mature, and promising as well.
+A few months later, Brockway returned to
+New York, where he has since lived as a
+teacher and performer.</p>
+
+<p>His symphony, which is in D major, is so
+ebullient with life that its dashing first subject
+cannot brook more than a few measures
+ <span class="pagenum"><a name="Page_300" id="Page_300">300</a></span>
+of slow introduction. The second subject is
+simpler, but no less joyous. The thematic
+work is scholarly and enthusiastic at the
+same time. The different movements of
+the symphony are, however, not thematically
+related, save that the coda of the last
+movement is a reminiscence of the auxiliary
+theme of the first movement. The andante,
+in which the 'cellos are very lyrical, is a
+tender and musing mood. The presto is
+flashing with life and has a trio of rollicking,
+even whooping, jubilation. The finale
+begins gloomily and martially, and it is succeeded
+by a period of beauty and grace.
+This movement, in fact, is a remarkable
+combination of the exquisitest beauty and
+most unrestrained prowess.</p>
+
+<p>Another orchestral work of great importance
+in American music is the "Sylvan
+Suite" (op. 19), which is also arranged for
+the piano. In this work the composer has
+shown a fine discretion and conservation in
+ <span class="pagenum"><a name="Page_301" id="Page_301">301</a></span>
+the use of the instruments, making liberal
+employment of small choirs for long periods.
+The work is programmatic in psychology
+only. It begins with a "Midsummer Idyl,"
+which embodies the drowsy petulance of hot
+noon. The second number is "Will o' the
+Wisps." In this a three-voiced fugue for the
+strings, wood, and one horn has been used
+with legitimate effect and most teasing, fleeting
+whimsicality. The third movement is a
+slow waltz, called "The Dance of the Sylphs,"
+a very catchy air, swaying delicately in the bassoons
+and 'cello; a short "Evening Song" is
+followed by "Midnight." This is a parade
+that reminds one strongly of Gottschalk's
+"Marche de Nuit." The march movement
+is followed by an interlude depicting the
+mystery of night, as Virgil says, "<i>tremulo
+sub lumine</i>." The composer has endeavored
+to indicate the chill gray of dawn by the ending
+of this movement: a chord taken by two
+flutes and the strings shivering <i>sul ponticello</i>.
+ <span class="pagenum"><a name="Page_302" id="Page_302">302</a></span>
+The last movement is "At Daybreak." Out
+of the gloom of the bassoons grows a broad
+and general luminous song followed by an
+interlude of the busy hum of life; this is
+succeeded by the return of the sunrise
+theme with a tremendously vivacious accompaniment.</p>
+
+<p>Other works of Brockway's are: a cantata,
+a set of variations, a ballade, a nocturne, a
+Characterst&uuml;ck, a Fantasiest&uuml;ck, a set of four
+piano pieces (op. 21), and two piano pieces
+(op. 25). All of these, except the cantata,
+have been published. Two part songs and
+two songs with piano accompaniment have
+also been published; a violin sonata, a Moment
+Musicale, and a romanza for violin and
+orchestra have been published in Berlin.</p>
+
+<p>These works all show a decided tendency
+to write brilliant and difficult music, but the
+difficulties are legitimate to the effect and
+the occasion. The <a href="#BALLADE">Ballade</a> works up a very
+powerful climax; the Scherzino swishes fas<span class="pagenum"><a name="Page_304" id="Page_304">304</a></span>cinatingly;
+and the Romanza for piano is a
+notably mature and serious work.<br /><br /></p>
+
+<div class="musicbox">
+<a name="BALLADE" id="BALLADE"></a>
+
+<p class="center"><br />[<a href="music/ballade.midi">Listen</a>]</p>
+
+<p class="center">
+<img src="images/ballade.png" width="700" height="1047" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1894, by Schlesinger'sche Buch und Musikhandlung
+(Rob. Lienau), Berlin.</b></span></p>
+
+<p class="caption"><br />FRAGMENT OF A "BALLADE" BY HOWARD BROCKWAY.<br /><br /></p>
+</div>
+
+<p><br />Two ballads have made the so romantic
+name of Harry Rowe Shelley a household
+word in America. They are the setting of
+Tom Moore's fiery "Minstrel Boy," and a
+strange jargon of words called "Love's
+Sorrow." In both cases the music is intense
+and full of fervor, and quick popularity
+rarely goes out to more worthy songs.</p>
+
+<p class="center"><br />
+<img src="images/shelleyauto.png" width="600" height="346" alt="Autograph of Harry Rowe Shelley" />
+</p>
+
+<p><br />But Shelley would doubtless prefer to be
+judged by work to which he has given more
+of his art and his interest than to the many <span class="pagenum"><a name="Page_305" id="Page_305">305</a></span>
+songs that he has tossed off in the light
+name of popularity.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="HARRY_ROWE_SHELLEY" id="HARRY_ROWE_SHELLEY"></a>
+<img src="images/shelley.png" width="274" height="400" alt="" />
+</p>
+
+<p class="caption">HARRY ROWE SHELLEY.</p>
+
+<p><br />Shelley's life has been largely devoted to
+church work. Born in New Haven, Conn.,
+June 8, 1858, and taught music by Gustav
+J. Stoeckel, he came under the tuition of
+Dudley Buck for seven years. His twentieth
+year found him an organist at New
+Haven. Three years later he went to
+Brooklyn in the same capacity. He was
+the organist at Plymouth Church for some
+time before Henry Ward Beecher's death.
+Since 1887 he has been at the Church of the
+Pilgrims. He visited Europe in 1887 and
+studied under Dv&ocirc;r&aacute;k when the Bohemian
+master was here.</p>
+
+<p>Shelley's largest works have been an
+opera, "Leila," still in manuscript, a symphonic
+poem, "The Crusaders," a dramatic
+overture, "Francesca da Rimini," a sacred
+oratorio, "The Inheritance Divine," a suite
+for orchestra, a fantasy for piano and orches<span class="pagenum"><a name="Page_306" id="Page_306">306</a></span>tra
+ (written for Rafael Joseffy), a one-act
+musical extravaganza, a three-act lyric
+drama, and a virile symphony. The suite
+is called "Souvenir de Baden-Baden." It is
+a series of highly elaborated trifles of much
+gaiety, and includes a lively "Morning
+Promenade," a dreamy "Siesta," a "Conversationshaus
+Ball," and a quaint "Serenade
+Orientale" that shows the influence
+of Mozart's and Beethoven's marches alla
+turca. The orchestration of this work I
+have never heard nor seen. Its arrangement
+for four hands, however, is excellently
+done, with commendable attention to the
+interests of the <i>secondo</i> player.</p>
+
+<p>The cantata is called "The Inheritance
+Divine," and it is much the best thing
+Shelley has done. It begins with a long,
+slow crescendo on the word "Jerusalem,"
+which is very forceful. Shelley responds
+to an imaginary encore, however, and the
+word becomes little more than an expletive.
+<span class="pagenum"><a name="Page_307" id="Page_307">307</a></span></p>
+
+<p>Page 7&mdash;to refer more conveniently than
+technically&mdash;is marked by sonorous harmonies
+of especial nobility. Now begins a
+new idea worked up with increased richness
+and growing fervor to a sudden magnificence
+of climax in the second measure on page 11.
+The final phrase, strengthened by an organ-point
+on two notes, is fairly thrilling. A
+tenor solo follows, its introductory recitative
+containing many fine things, its aria being
+smoothly melodious. A chorus, of warm
+harmonies and a remarkably beautiful and
+unexpected ending, is next; after which is
+a sombre, but impressive alto solo. The
+two successive choruses, the quartette, and
+the soprano solo catch the composer nodding.
+The bass solo is better; the final
+chorus brings us back to the high plane.
+Page 62 is particularly big of spirit, and
+from here on the chorus climbs fiery heights.
+In spite of Berlioz' famous parody on the
+"Amen" fugues, in the "Damnation of
+ <span class="pagenum"><a name="Page_308" id="Page_308">308</a></span>
+Faust," Shelley has used the word over a
+score of times in succession to finish his
+work. But altogether the work is one of
+maturity of feeling and expression, and it is
+a notable contribution to American sacred
+music.</p>
+
+<p>In 1898 "Death and Life" was published.
+It opens with a dramatic chorus sung by the
+mob before the cross, and it ends daringly
+with a unisonal descent of the voices that
+carries even the sopranos down to A natural.
+In the duet between Christ and Mary, seeking
+where they have laid her Son, the librettist
+has given Christ a versified paraphrase
+which is questionable both as to taste and
+grammar. The final chorus, however, has
+a stir of spring fire that makes the work
+especially appropriate for Easter services.</p>
+
+<p>The cantata "Vexilla Regis" is notable
+for its martial opening chorus, the bass solo,
+"Where deep for us the spear was dyed,"
+and its scholarly and effective ending.
+<span class="pagenum"><a name="Page_309" id="Page_309">309</a></span></p>
+
+<p>A lapidary's skill and delight for working
+in small forms belongs to Gerrit Smith. His
+"Aquarelles" are a good example of his art
+in bijouterie. This collection includes eight
+songs and eight piano sketches. The first,
+"A Lullaby," begins with the unusual skip
+of a ninth for the voice. A subdued accentuation
+is got by the syncopation of the bass,
+and the yearning tenderness of the ending
+finishes an exquisite song. "Dream-wings"
+is a graceful fantasy that fittingly presents
+the delicate sentiment of Coleridge' lyrics.
+The setting of Heine's "Fir-tree" is entirely
+worthy to stand high among the numerous
+settings of this lyric. Smith gets the air of
+desolation of the bleak home of the fir-tree
+by a cold scale of harmony, and a bold simplicity
+of accompaniment. The home of the
+equally lonely palm-tree is strongly contrasted
+by a tropical luxuriance of interlude
+and accompaniment.</p>
+
+<p>The sixth song is a delightful bit of bril<span class="pagenum"><a name="Page_310" id="Page_310">310</a></span>liant
+ music, but it is quite out of keeping
+with the poem. Thus on the words, "Margery's
+only three," there is a fierce climax
+fitting an Oriental declaration of despair.
+The last of these songs, "Put by the Lute,"
+is possibly Smith's best work. It is superb
+from beginning to end. It opens with a
+most unhackneyed series of preludizing
+arpeggios, whence it breaks into a swinging
+lyric, strengthened into passion by a vigorous
+contramelody in the bass. Throughout, the
+harmonies are most original, effective, and
+surprising.</p>
+
+<p>Of the eight instrumental pieces in this
+book, the exquisite and fluent "Impromptu"
+is the best after the "Cradle Song," which is
+drowsy with luscious harmony and contains a
+passage come organo of such noble sonority
+as to put it a whit out of keeping with a
+child's lullaby.</p>
+
+<p>Smith was born December 11, 1859, at
+Hagerstown, Md. His first instruction was
+ <span class="pagenum"><a name="Page_311" id="Page_311">311</a></span>
+gained in Geneva, N.Y., from a pupil of
+Moscheles. He began composition early,
+and works of his written at the age of fourteen
+were performed at his boarding-school.
+He graduated at Hobart College in 1876,
+whence he went to Stuttgart to study music
+and architecture. A year later he was in
+New York studying the organ with Samuel
+P. Warren. He was appointed organist at
+St. Paul's, Buffalo, and studied during the
+summer with Eugene Thayer, and William
+H. Sherwood. In 1880 he went again to
+Germany, and studied organ under Haupt,
+and theory under Rohde, at Berlin. On his
+return to America he took the organ at St.
+Peter's, in Albany. Later he came to New
+York, where he has since remained continuously,
+except for concert tours and journeys
+abroad. He has played the organ in the
+most important English and Continental
+towns, and must be considered one of our
+most prominent concert organists. He is
+ <span class="pagenum"><a name="Page_312" id="Page_312">312</a></span>
+both a Master of Arts and a Doctor of
+Music. As one of the founders, and for
+many years the president, of the Manuscript
+Society, he was active in obtaining
+a hearing for much native music otherwise
+mute.</p>
+
+<p>In addition to a goodly number of Easter
+carols, Christmas anthems, Te Deums, and
+such smaller forms of religious music, Smith
+has written a sacred cantata, "King David."
+Aside from this work, which in orchestration
+and in general treatment shows undoubted
+skill for large effort, Doctor Smith's composition
+has been altogether along the smaller
+lines.</p>
+
+<p>The five-song'd opus 14 shows well matured
+lyric power, and an increase in fervor
+of emotion. Bourdillon's "The Night Has a
+Thousand Eyes," which can never be too
+much set to music, receives here a truly
+superb treatment. The interlude, which also
+serves for finale, is especially ravishing.
+ <span class="pagenum"><a name="Page_313" id="Page_313">313</a></span>
+"Heart Longings" is one of Mr. Smith's
+very best successes. It shows a free passion
+and a dramatic fire unusual for his rather
+quiet muse. The setting of Bourdillon's fine
+lyric is indeed so stirring that it deserves a
+high place among modern songs. "Melody"
+is a lyric not without feeling, but yet inclusive
+of most of Smith's faults. Thus the
+prelude, which is a tritely flowing allegro,
+serves also for interlude as well as postlude,
+and the air and accompaniment of both
+stanzas are unvaried, save at the cadence of
+the latter stanza. The intense poesy of
+Anna Reeve Aldrich, a poetess cut short at
+the very budding of unlimited promise, deserved
+better care than this from a musician.
+Two of Smith's works were published in
+Millet's "Half-hours with the Best Composers,"&mdash;one
+of the first substantial recognitions
+of the American music-writer. A
+"Romance," however, is the best and most
+elaborate of his piano pieces, and is altogether<span class="pagenum"><a name="Page_315" id="Page_315">315</a></span>
+an exquisite fancy. His latest work, a cycle
+of ten pieces for the piano, "A Colorado
+Summer," is most interesting. The pieces
+are all lyrical and simple, but they are full of
+grace and new colors.<br /><br /></p>
+
+<div class="musicbox">
+<a name="SPRING" id="SPRING"></a>
+<h2><br />Spring.</h2>
+
+<h3>Words by Alfred Tennyson.</h3>
+
+<p class="center">[<a href="music/spring.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em"><b>GERRIT SMITH, OP. 13, NO. 4.</b></span></p>
+
+<p class="center">
+<img src="images/spring.png" width="700" height="1037" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1894, by Arthur P. Schmidt.</b></span></p>
+
+<p class="cpoems"><br />
+Bird's love and bird's song,<br />
+Flying here and there,<br />
+Bird's song and bird's love,<br />
+And you with gold for hair.<br />
+Bird's song and bird's love,<br />
+Passing with the weather,<br />
+Men's song and men's love,<br />
+To love once and forever.<br />
+<br />
+</p>
+
+<p class="caption">A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />But Smith's most individual work is his set
+of songs for children, which are much compared,
+and favorably, with Reinecke's work
+along the same lines. These are veritable
+masterpieces of their sort, and they are mainly
+grouped into opus 12, called "Twenty-five
+Song Vignettes."</p>
+
+<p>So well are they written that they are a
+safe guide, and worthy that supreme trust,
+the first formation of a child's taste. Even
+dissonances are used, sparingly but bravely
+enough to give an idea of the different elements
+that make music something more than
+a sweetish impotence. They are vastly different
+from the horrible trash children are
+usually brought up on, especially in our
+American schools, to the almost incurable
+ <span class="pagenum"><a name="Page_316" id="Page_316">316</a></span>
+perversion of their musical tastes. They are
+also so full of refinement, and of that humor
+without which children cannot long be held,
+that they are of complete interest also to
+"grown-ups," to whom alone the real artistic
+value of these songs can entirely transpire.
+Worthy of especial mention are the delicious
+"Stars and Angels;" the delightful "A
+Carriage to Ride In;" "Good King Arthur,"
+a captivating melody, well built on an accompaniment
+of "God Save the King;" "Birdie's
+Burial," an elegy of the most sincere pathos,
+quite worthy of a larger cause,&mdash;if, indeed,
+any grief is greater than the first sorrows of
+childhood; the surprisingly droll "Barley
+Romance;" "The Broom and the Rod," with
+its programmatic <i>glissandos</i> to give things a
+clean sweep; and other delights like the
+"Rain Song," "The Tomtit Gray," "Mamma's
+Birthday," and "Christmas at the
+Door." To have given these works their
+present value and perfection, is to have
+ <span class="pagenum"><a name="Page_317" id="Page_317">317</a></span>
+accomplished a far greater thing than the
+writing of a dozen tawdry symphonies.</p>
+
+<p>One of the most outrageously popular
+piano pieces ever published in America was
+Homer N. Bartlett's "Grande Polka de Concert."
+It was his opus 1, written years ago,
+and he tells me that he recently refused a
+lucrative commission to write fantasies
+on "Nearer My God to Thee" and "The
+Old Oaken Bucket"! So now that he
+has reformed, grown wise and signed the
+musical pledge, one must forgive him those
+wild oats from which he reaped royalties,
+and look to the genuine and sincere
+work he has latterly done. Let us begin,
+say, with opus 38, a "Polonaise" that out-Herods
+Chopin in bravura, but is full of
+vigor and well held together. A "Dance
+of the Gnomes," for piano, is also arranged
+for a sextet, the arrangement being a development,
+not a bare transcription. There are
+two mazurkas (op. 71), the first very original
+ <span class="pagenum"><a name="Page_318" id="Page_318">318</a></span>
+and happy. "&AElig;olian Murmurings" is a
+superb study in high color. A "Caprice Espa&ntilde;ol"
+is a bravura realization of Spanish
+frenzy. It has also been brilliantly orchestrated.
+Two songs without words make up
+opus 96: while "Meditation" shows too evident
+meditation on Wagner, "A Love Song"
+gets quite away from musical bourgeoisery.
+It is free, spirited, even daring. It is patently
+less devoted to theme-development than to
+the expression of an emotion. This "Love
+Song" is one of the very best of American
+morceaux, and is altogether commendable.</p>
+
+<p>Opus 107 includes three "characteristic
+pieces." "The Zephyr" is dangerously like
+Chopin's fifteenth Prelude, with a throbbing
+organ-point on the same A flat. On this
+alien foundation, however, Bartlett has built
+with rich harmony. The "Harlequin" is
+graceful and cheery. It ends with Rubinstein's
+sign and seal, an arpeggio in sixths,
+which is as trite a musical finis as fiction's
+ <span class="pagenum"><a name="Page_319" id="Page_319">319</a></span>
+"They lived happily ever afterward, surrounded
+by a large circle of admiring friends."</p>
+
+<p>Three mazurkas constitute opus 125. They
+are closely modelled on Chopin, and naturally
+lack the first-handedness of these works, in
+which, almost alone, the Pole was witty.
+But Bartlett has made as original an imitation
+as possible. The second is particularly
+charming.</p>
+
+<p>In manuscript is a Pr&eacute;lude developed
+interestingly on well-understood lines. There
+is a superb "Reverie Po&eacute;tique." It is that
+climax of success, a scholarly inspiration.
+To the meagre body of American scherzos,
+Bartlett's scherzo will be very welcome. It
+is very festive and very original. Its richly
+harmonized interlude shows a complete emancipation
+from the overpowering influence of
+Chopin, and a great gain in strength as well
+as individuality.</p>
+
+<p>In his songs Bartlett attains a quality uniformly
+higher than that of his piano pieces.
+ <span class="pagenum"><a name="Page_320" id="Page_320">320</a></span>
+"Moonbeams" has many delicacies of harmony.
+"Laughing Eyes" is a fitting setting
+of Mr. "Nym Crinkle" Wheeler's exquisite
+lyric. "Come to Me, Dearest," while cheap in
+general design, has fine details.</p>
+
+<p>It makes me great dole to have to praise a
+song about a brooklet; but the truth is, that
+Bartlett's "I Hear the Brooklet's Murmur" is
+superbly beautiful, wild with regret,&mdash;a noble
+song. It represents the late German type of
+<i>Lied</i>, as the earlier heavy style is exemplified
+in "Good Night, Dear One." Very Teutonic
+also is the airiness and grace of "Rosebud."</p>
+
+<p>To that delightful collection of children's
+songs, "The St. Nicholas Song Book,"
+Bartlett contributed largely. All of his lyrics
+are delicious, and "I Had a Little Pony"
+should become a nursery classic.</p>
+
+<p>In his "Lord God, Hear My Prayer,"
+Bartlett throws down the gauntlet to the
+Bach-Gounod "Ave Maria," with results
+rather disastrous. He chooses a Cramer
+ <span class="pagenum"><a name="Page_321" id="Page_321">321</a></span>
+&eacute;tude, and adds to it parts for voice, violin,
+and organ. While Gounod seems passionate
+and unrestrained, Bartlett shows his caution
+and his cage at every step. A Cramer &eacute;tude
+is among the most melancholy things of earth
+anyway. "Jehovah Nissi" is an excellent
+sacred march chorus that won a prize, and
+there is a cantata, "The Last Chieftain."
+Bartlett's cantata is without efforts at Indian
+color, but is a solid work with much dignity,
+barbaric severity, and fire.</p>
+
+<p>Bartlett was born at Olive, N.Y., December
+28, 1846. His ancestry runs far back
+into New England, his mother being a
+descendant of John Rogers, the martyr.
+Bartlett is said to have "lisped in numbers,"
+singing correctly before he could articulate
+words. The violin was his first love, and at
+the age of eight he was playing in public.
+He took up the piano and organ also, and in
+his fourteenth year was a church organist.
+He studied the piano with S.B. Mills, Emil
+ <span class="pagenum"><a name="Page_322" id="Page_322">322</a></span>
+Guyon (a pupil of Thalberg), and Alfred Pease.
+The organ and composition he studied with
+O.F. Jacobsen and Max Braun. With the
+exception of a musical pilgrimage in 1887,
+Bartlett has not come nearer the advantages
+of Europe than study here under men who
+studied there. He has resided for many
+years in New York as organist and teacher.
+As a composer he has been one of our most
+prolific music-makers. His work shows a
+steady development in value, and the best is
+doubtless yet to come.</p>
+
+<p>He finds a congenial field in the orchestra.
+Seidl played his instrumentation of Chopin's
+"Military Polonaise" several times. As the
+work seemed to need a finale in its larger
+form, Bartlett took a liberty whose success was
+its justification, and added a finish made up
+of the three principal themes interwoven. A
+recent work is his "Concertst&uuml;ck," for violin
+and orchestra. It is not pianistic in instrumentation,
+and will appeal to violinists.
+ <span class="pagenum"><a name="Page_323" id="Page_323">323</a></span>
+While not marked with <i>r&eacute;cherch&eacute;s</i> violin tricks,
+or violent attempts at bravura, it has both
+brilliance and solidity, and is delightfully
+colored in orchestration. There are no
+pauses between the movements, but they
+are well varied in their unity.</p>
+
+<p>There is an unfinished oratorio, "Samuel,"
+an incomplete opera, "Hinotito," and a cantata
+of which only the tenor solo, "Khamsin," is
+done. This is by far the best work Bartlett
+has written, and displays unexpected dramatic
+powers. The variation of the episodes of the
+various phases of the awful drought to the
+climax in "The Plague," make up a piece of
+most impressive strength. The orchestration
+is remarkably fine with effect, color, and
+variety. If the cantata is finished on this
+scale, its production will be a national event.</p>
+
+<p>The New England farmer is usually taken
+as a type of sturdy Philistinism in artistic
+matters. It was a most exceptional good
+fortune that gave C.B. Hawley a father who
+ <span class="pagenum"><a name="Page_324" id="Page_324">324</a></span>
+added to the dignity of being a tiller of the
+soil the refinements of great musical taste
+and skill. His house at Brookfield, Conn.,
+contained not only a grand piano, but a pipe
+organ as well; and Hawley's mother was
+blessed with a beautiful and cultivated voice.</p>
+
+<p>At the age of thirteen (he was born St.
+Valentine's Day, 1858) Hawley was a church
+organist and the conductor of musical affairs
+in the Cheshire Military Academy, from
+which he graduated. He went to New York
+at the age of seventeen, studying the voice
+with George James Webb, Rivarde, Foederlein,
+and others, and composition with Dudley
+Buck, Joseph Mosenthal, and Rutenber.</p>
+
+<p>His voice brought him the position of soloist
+at the Calvary Episcopal Church, at the
+age of eighteen. Later he became assistant
+organist at St. Thomas' Episcopal Church,
+under George William Warren. For the last
+fourteen years he has had charge of the summer
+music at St. James Chapel, in Elberon,
+ <span class="pagenum"><a name="Page_325" id="Page_325">325</a></span>
+the chapel attended by Presidents Grant and
+Garfield. For seventeen years he has been
+one of the leading spirits of the Mendelssohn
+Glee Club, and for ten years a member of the
+Mendelssohn Quartet Club. Most of his
+part songs were written for the club and first
+sung at its concerts. He is also a successful
+teacher of the voice, and has been too busy
+to write a very large volume of compositions.
+But those published show the authentic fire.</p>
+
+<p>Notable features of Hawley's compositions
+are the taking quality of the melody, its
+warm sincerity, and the unobtrusive opulence
+in color of the accompaniment. This is
+less like an answering, independent voice
+than like a many-hued, velvety tapestry, back-grounding
+a beautiful statue. It is only on
+second thought and closer study that one
+sees how well concealed is the careful and
+laborious polish <i>ad unguem</i> of every chord.
+This is the true art of song, where the lyrics
+should seem to gush spontaneously forth
+ <span class="pagenum"><a name="Page_326" id="Page_326">326</a></span>
+from a full heart and yet repay the closer
+dissection that shows the intellect perfecting
+the voice of emotion.</p>
+
+<p>Take, for example, his "Lady Mine," a
+brilliant rhapsody, full of the spring, and enriched
+with a wealth of color in the accompaniment
+till the melody is half hidden in a
+shower of roses. It required courage to
+make a setting of "Ah, 'Tis a Dream!" so
+famous through Lassen's melody; but Hawley
+has said it in his own way in an air
+thrilled with longing and an accompaniment
+as full of shifting colors as one of the native
+sunsets. I can't forbear one obiter dictum
+on this poem. It has never been so translated
+as to reproduce its neatest bit of fancy.
+In the original the poet speaks of meeting
+in dreams a fair-eyed maiden who greeted
+him "auf Deutsch" and kissed him "auf
+Deutsch," but the translations all evade the
+kiss in German.</p>
+
+<p>"The Ring," bounding with the glad
+ <span class="pagenum"><a name="Page_327" id="Page_327">327</a></span>
+frenzy of a betrothed lover, has a soaring
+finale, and is better endowed with a well
+polished accompaniment than the song, "Because
+I Love You, Dear," which is not without
+its good points in spite of its manifest
+appeal to a more popular taste. "My Little
+Love," "An Echo," "Spring's Awakening,"
+and "Where Love Doth Build His Nest," are
+conceived in Hawley's own vein.</p>
+
+<p>The song, "Oh, Haste Thee, Sweet," has
+some moments of banality, but more of
+novelty; the harmonic work being unusual at
+times, especially in the rich garb of the
+words, "It groweth late." In "I Only
+Can Love Thee," Hawley has succeeded in
+conquering the incommensurateness of Mrs.
+Browning's sonnet by alternating 6-8 and 9-8
+rhythms. His "Were I a Star," is quite a
+perfect lyric.</p>
+
+<p>Of his part songs, all are good, some are
+masterly. Here he colors with the same
+lavish but softly blending touch as in his
+ <span class="pagenum"><a name="Page_328" id="Page_328">328</a></span>
+solos. "My Luve's Like a Red, Red Rose"
+is altogether delightful, containing as it does
+a suggestion of the old formalities and
+courtly graces of the music of Lawes, whose
+songs Milton sonneted. I had always thought
+that no musician could do other than paint
+the lily in attempting to add music to the
+music of Tennyson's "Bugle Song," but
+Hawley has come dangerously near satisfaction
+in the elfland faintness and dying
+clearness of his voices.</p>
+
+<p>He has written two comic glees, one of
+which, "They Kissed! I Saw Them Do It,"
+has put thousands of people into the keenest
+mirth. It is a vocal scherzo for men's voices.
+It begins with a criminally lugubrious and
+thin colloquy, in which the bass dolefully
+informs the others: "Beneath a shady tree
+they sat," to which the rest agree; "He held
+her hand, she held his hat," which meets
+with general consent. Now we are told in
+stealthy gasps, "I held my breath and lay
+ <span class="pagenum"><a name="Page_329" id="Page_329">329</a></span>
+right flat." Suddenly out of this thinness
+bursts a peal of richest harmony: "They
+kissed! I saw them do it." It is repeated
+more lusciously still, and then the basses and
+barytones mouth the gossip disapprovingly,
+and the poem continues with delicious raillery
+till it ends abruptly and archly: "And
+they thought no one knew it!"</p>
+
+<p>Besides these scherzos, Hawley has written
+a few religious part songs of a high order,
+particularly the noble "Trisagion and Sanctus,"
+with its "Holy, Holy!" now hushed in
+reverential awe and now pealing in exultant
+worship. But of all his songs, I like best his
+"<a href="#WHEN_LOVE">When Love is Gone</a>," fraught with calm
+intensity, and closing in beauty as ineffable
+as a last glimmer of dying day.<br /><br /></p>
+
+<div class="musicbox">
+<a name="WHEN_LOVE" id="WHEN_LOVE"></a>
+<h2><br />When Love is gone.</h2>
+
+<h3><i>(Soprano, or Tenor.)</i></h3>
+
+<p class="center">[<a href="music/whenlove.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em"><b>C.B. HAWLEY.</b></span></p>
+
+<p class="center">
+<img src="images/whenlove.png" width="700" height="926" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em"><b>Copyright, 1894, by G. Schirmer.</b></span></p>
+
+<p class="cpoem"><br />
+The mind has a thousand eyes,<br />
+The heart but one;<br />
+Yet the light of a whole life dies<br />
+When love is gone, when love is gone.<br /><br />
+</p>
+
+</div>
+
+<p><br />To the stencil-plate chivalry of the lyrics
+of the ubiquitous F.E. Weatherby and John
+Oxenford, the song-status of England can
+blame a deal of its stagnation. It is not often
+that these word-wringers have enticed
+<span class="pagenum"><a name="Page_331" id="Page_331">331</a></span>American
+composers. One of the few victims is
+John Hyatt Brewer, who was born in Brooklyn,
+in 1856, and has lived there ever since.</p>
+
+<p>Brewer made his d&eacute;but as a six-year-old
+singer, and sang till his fourteenth year.
+A year later he was an organist in Brooklyn,
+where he has held various positions in the
+same capacity ever since, additionally busying
+himself as a teacher of voice, piano, organ,
+and harmony. His studies in piano and harmony
+were pursued under Rafael Navarro.
+Counterpoint, fugue, and composition he
+studied under Dudley Buck.</p>
+
+<p>In 1878 Brewer became the second tenor
+and accompanist of the Apollo Club, of which
+Mr. Buck is the director. He has conducted
+numerous vocal societies and an amateur
+orchestra.</p>
+
+<p>Of his cantatas, "Hesperus" is a work of
+the greatest promise and large performance.</p>
+
+<p>For male voices Brewer has written a cantata
+called "The Birth of Love." Its fiery
+ <span class="pagenum"><a name="Page_332" id="Page_332">332</a></span>
+ending is uncharacteristic, but the beautiful
+tenor solo and an excellent bass song prove
+his forte to lie in the realm of tenderness.
+Brewer's music has little fondness for climaxes,
+but in a tender pathos that is not
+tragedy, but a sort of lotos-eater's dreaminess
+and regret, he is congenially placed.
+Smoothness is one of his best qualities.</p>
+
+<p>Out of a number of part songs for men,
+one should mark a vigorous "Fisher's Song,"
+a "May Song," which has an effective "barber's
+chord," and "The Katydid," a witty
+realization of Oliver Wendell Holmes' captivating
+poem. His "Sensible Serenade" has
+also an excellent flow of wit. Both these
+songs should please glee clubs and their
+audiences.</p>
+
+<p>For women's voices Brewer has written
+not a little. The best of these are "Sea
+Shine," which is particularly mellow, and
+"Treachery," a love-scherzo.</p>
+
+<p>For the violin there are two pieces: one,
+<span class="pagenum"><a name="Page_333" id="Page_333">333</a></span>
+in the key of D, is a duet between the violin
+and the soprano voice of the piano. It is
+full of characteristic tenderness, full even of
+tears. It should find a good place among
+those violin ballads of which Raff's Cavatina
+is the best-known example. Another violin
+solo in A is more florid, but is well managed.
+The two show a natural aptitude for composition
+for this favorite of all instruments.</p>
+
+<p>For full orchestra there is a suite, "The
+Lady of the Lake," also arranged, for piano
+and organ. It is smooth and well-tinted. A
+sextet for strings and flute has been played
+with favor.</p>
+
+<p>Brewer's chief success lies along lines of
+least resistance, one might say. His Album
+of Songs (op. 27) is a case in point. Of the
+subtle and inevitable "Du bist wie eine
+Blume," he makes nothing, and "The Violet"
+forces an unfortunate contrast with
+Mozart's idyl to the same words. But
+"Meadow Sweet" is simply iridescent with
+ <span class="pagenum"><a name="Page_334" id="Page_334">334</a></span>
+cheer, a most unusually sweet song, and
+"The Heart's Rest" is of equal perfection.</p>
+
+<p>The best-abused composer in America is
+doubtless Reginald de Koven. His great
+popularity has attracted the search-light of
+minute criticism to him, and his accomplishments
+are such as do not well endure the
+fierce white light that beats upon the throne.
+The sin of over-vivid reminiscence is the
+one most persistently imputed to him, and
+not without cause. While I see no reason to
+accuse him of deliberate imitation, I think he
+is a little too loth to excise from his music
+those things of his that prove on consideration
+to have been said or sung before him.
+Instead of crying, "<i>Pereant qui ante nos
+nostra cantaverunt</i>," he believes in a live-and-let-live
+policy. But ah, if De Koven
+were the only composer whose eraser does
+not evict all that his memory installs!</p>
+
+<p>De Koven was born at Middletown, Conn.,
+in 1859, and enjoyed unusual advantages for
+ <span class="pagenum"><a name="Page_335" id="Page_335">335</a></span>
+musical study abroad. At the age of eleven,
+he was taken to Europe, where he lived for
+twelve years. At Oxford he earned a degree
+with honors. His musical instructors include
+Speidel, Lebert, and Pruckner, at Stuttgart,
+Huff the contrapuntist at Frankfort, and
+Vannucini, who taught him singing, at Florence.
+He made also a special study of light
+opera under Gen&eacute;e and Von Supp&eacute;. He
+made Chicago his home in 1882, afterward
+moving to New York, where he served as
+a musical critic on one of the daily papers for
+many years.</p>
+
+<p>De Koven has been chief purveyor of
+comic opera to his generation, and for so
+ideal a work as "Robin Hood," and such
+pleasing constructions as parts of his other
+operas ("Don Quixote," "The Fencing Master,"
+"The Highwayman," for instance), one
+ought to be grateful, especially as his music
+has always a certain elegance and freedom
+from vulgarity.
+<span class="pagenum"><a name="Page_336" id="Page_336">336</a></span></p>
+
+<p>Of his ballads, "Oh, Promise Me" has a
+few opening notes that remind one of
+"Musica Proibita," but it was a taking
+lyric that stuck in the public heart. His
+setting of Eugene Field's "Little Boy Blue"
+is a work of purest pathos and directness.
+His version of "My Love is Like a Red,
+Red Rose" is among the best of its countless
+settings, and "The Fool of Pamperlune,"
+the "Indian Love Song," "In June,"
+and a few others, are excellent ballad-writing.</p>
+
+<p>Victor Harris is one of the few that selected
+New York for a birthplace. He was
+born here April 27, 1869, and attended the College
+of the City of New York, class of 1888.
+For several of his early years he was well
+known as a boy-soprano, whence he graduated
+into what he calls the "usual career"
+of organist, pianist, and teacher of the voice.
+In 1895 and 1896 he acted as the assistant
+conductor to Anton Seidl in the Brighton
+ <span class="pagenum"><a name="Page_337" id="Page_337">337</a></span>
+Beach summer concerts. He learned harmony
+of Frederick Schilling.</p>
+
+<p>Harris is most widely known as an accompanist,
+and is one of the best in the country.
+But while the accompaniments he writes to
+his own songs are carefully polished and well
+colored, they lack the show of independence
+that one might expect from so unusual a
+master of their execution.</p>
+
+<p>Except for an unpublished one-act operetta,
+"Mlle. Maie et M. de Sembre," and a few
+piano pieces, Harris has confined himself
+to the writing of short songs. In his twenty-first
+year two of unequal merits were published,
+"The Fountains Mingle with the
+River" being a taking melody, but without
+distinction or originality, while "Sweetheart"
+has much more freedom from conventionality
+and inevitableness.</p>
+
+<p>A later song, "My Guest," shows an increase
+in elaboration, but follows the florid
+school of Harrison Millard's once so popu<span class="pagenum"><a name="Page_338" id="Page_338">338</a></span>lar
+ rhapsody, "Waiting." Five songs are
+grouped into opus 12, and they reach a much
+higher finish and a better tendency to make
+excursions into other keys. They also show
+two of Harris' mannerisms, a constant repetition
+of verbal phrases and a fondness for
+writing close, unbroken chords, in triplets or
+quartoles. "A Melody" is beautiful; "Butterflies
+and Buttercups" is the perfection of
+grace; "I Know not if Moonlight or Starlight"
+is a fine rapture, and "A Disappointment"
+is a dire tragedy, all about some
+young toadstools that thought they were
+going to be mushrooms. For postlude two
+measures from the cantabile of Chopin's
+"Funeral March" are used with droll effect.
+"Love, Hallo!" is a headlong springtime
+passion. Two of his latest songs are "Forever
+and a Day," with many original touches,
+and a "<a href="#OMAR">Song from Omar Khayy&aacute;m</a>," which is
+made of some of the most cynical of the tent-maker's
+quatrains. Harris has given them<span class="pagenum"><a name="Page_340" id="Page_340">340</a></span>all
+their power and bitterness till the last
+line, "The flower that once has blown forever
+dies," which is written with rare beauty.
+"A Night-song" is possibly his best work;
+it is full of colors, originalities, and lyric
+qualities. Opus 13 contains six songs:
+"Music when Soft Voices Die" has many
+uncommon and effective intervals; "The
+Flower of Oblivion" is more dramatic than
+usual, employs discords boldly, and gives the
+accompaniment more individuality than before;
+"A Song of Four Seasons" is a
+delicious morsel of gaiety, and "Love within
+the Lover's Breast" is a superb song. Harris
+has written some choric works for men
+and women also. They show commendable
+attention to all the voice parts.<br /><br /></p>
+
+<div class="musicbox">
+<a name="OMAR" id="OMAR"></a>
+
+<p class="caption"><br />To N.N.H.</p>
+
+<h2>Song from Omar Khayyám.</h2>
+
+<p class="center">[<a href="music/omar.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>VICTOR HARRIS, Op. 16, No. 3.</b></span></p>
+
+<p class="center">
+<img src="images/omar.png" width="700" height="1134" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1898, by Edward Schuberth &amp; Co.</b></span></p>
+
+<p class="cpoeml"><br />
+Oh! threats of Hell and hopes of Paradise!<br />
+One thing at least is certain&mdash;<br />
+<span class="u">This</span> Life flies,<br />
+One thing is certain, and the rest is Lies!<br />
+The Flower that once has blown for ever, for ever dies.<br /><br />
+</p>
+</div>
+
+<p><br />One of the most prominent figures in
+American musical history has been Dr. William
+Mason. He was born in Boston, January
+24, 1829, and was the son of Lowell
+Mason, that pioneer in American composition.
+ <span class="pagenum"><a name="Page_341" id="Page_341">341</a></span>
+Dr. William Mason studied in Boston, and in
+Germany under Moscheles, Hauptmann,
+Richter, and Liszt. His success in concerts
+abroad and here gave prestige to his philosophy
+of technic, and his books on method
+have taken the very highest rank.</p>
+
+<p>His pedagogical attainments have overshadowed
+his composition, but he has written
+some excellent music. As he has been an
+educational force in classical music, so his
+compositions show the severe pursuit of classic
+forms and ideas. His work is, therefore,
+rather ingenious than inspired, and intellectual
+rather than emotional. Yale made him
+Doctor of Music in 1872.</p>
+
+<p>Another composer whose studies in technic
+have left him only a little inclination for creation
+is Albert Ross Parsons, who was born at
+Sandusky, O., September 16, 1847. He
+studied in Buffalo, and in New York under
+Ritter. Then he went to Germany, where
+he had a remarkably thorough schooling
+ <span class="pagenum"><a name="Page_342" id="Page_342">342</a></span>
+under Moscheles, Reinecke, Richter, Paul,
+Taussig, Kullak, and others. Returning to
+this country, he has busied himself as organist,
+teacher, and an editor of musical works.
+What little music he has composed shows the
+fruit of his erudition in its correctness.</p>
+
+<p>Such men as Doctor Mason and Mr. Parsons,
+though they add little to the volume of
+composition,&mdash;a thing for which any one
+should be thanked on some considerations,&mdash;yet
+add great dignity to their profession in
+this country.</p>
+
+<p>Arthur, a younger brother of Ethelbert
+Nevin, shows many of the Nevinian traits of
+lyric energy and harmonic color in his songs.
+He was born at Sewickley, Pa., in 1871. Until
+he was eighteen he had neither interest nor
+knowledge in music. In 1891 he began a
+four years' course in Boston, going thence to
+Berlin, where his masters were Klindworth
+and Boise. A book of four graceful "May
+Sketches" has been published, "Pierrot's
+ <span class="pagenum"><a name="Page_343" id="Page_343">343</a></span>
+Guitar" being especially ingenious. There
+are two published songs, "Were I a Tone"
+and "In Dreams," both emotionally rich. In
+manuscript are a fine song, "Free as the
+Tossing Sea," and a well-devised trio.</p>
+
+<p>A successful writer of songs is C. Whitney
+Coombs. He was born in Maine, in 1864,
+and went abroad at the age of fourteen.
+He studied the piano with Speidel, and composition
+with Seiffritz, in Stuttgart, for five
+years, and pursued his studies later in Dresden
+under Draessecke, Janssen, and John.
+In 1887 he became organist at the American
+Church in that city, returning to America
+in 1891, since which time he has been an
+organist in New York.</p>
+
+<p>In 1891 his publication begins with "My
+Love," an excellent lilt on lines from the
+Arabian. Among his many songs a few
+should be noted: the "Song of a Summer
+Night" is brilliant and poetic, and "Alone"
+is marked by some beautiful contramelodic
+ <span class="pagenum"><a name="Page_344" id="Page_344">344</a></span>
+effects; his "Indian Serenade" is a gracious
+work.</p>
+
+<p>J. Remington Fairlamb has been a prolific
+composer. He was born at Philadelphia, and
+at fourteen was a church organist. He
+studied at the Paris Conservatoire and in
+Italy; was appointed consul at Zurich by
+President Lincoln, and while in Stuttgart
+was decorated by the King of Wurtemburg
+with the "Great Gold Medal of Art and
+Science" for a Te Deum for double chorus
+and orchestra. Of Fairlamb's compositions,
+some two hundred have been published,
+including much sacred music and parts of
+two operas. A grand opera, "Leonello," in
+five acts, and a mass are in manuscript.</p>
+
+<p>Frank Seymour Hastings has found in
+music a pleasant avocation from finance, and
+written various graceful songs. He has been
+active, too, in the effort to secure a proper
+production of grand opera in English.</p>
+
+<p>Dr. John M. Loretz, of Brooklyn, is a
+ <span class="pagenum"><a name="Page_345" id="Page_345">345</a></span>
+veteran composer, and has passed his opus
+200. He has written much sacred music
+and several comic operas.</p>
+
+<p>A prominent figure in New York music,
+though only an occasional composer, is Louis
+Raphael Dressler, one of the six charter
+members of the Manuscript Society, and long
+its treasurer. His father was William Dressler,
+one of the leading musicians of the
+earlier New York, where Mr. Dressler was
+born, in 1861. Dressier studied with his
+father, and inherited his ability as a professional
+accompanist and conductor. He was
+the first to produce amateur performances of
+opera in New York. His songs are marked
+with sincerity and spontaneity.</p>
+
+<p>Richard Henry Warren has been the organist
+at St. Bartholomew's since 1886, and
+the composer of much religious music in
+which both skill and feeling are present.
+Among his more important works are two
+complete services, a scene for barytone
+ <span class="pagenum"><a name="Page_346" id="Page_346">346</a></span>
+solo, male chorus, and orchestra, called "Ticonderoga,"
+and a powerful Christmas anthem.
+Warren has written also various operettas, in
+which he shows a particular grasp of instrumentation,
+and an ability to give new turns
+of expression to his songs, while keeping
+them smooth and singable. An unpublished
+short song of his, "When the Birds Go North,"
+is a remarkably beautiful work, showing an
+aptitude that should be more cultivated.</p>
+
+<p>Warren was born at Albany, September
+17, 1859. He is a son and pupil of George
+W. Warren, the distinguished organist. He
+went to Europe in 1880, and again in 1886,
+for study and observation. He was the organizer
+and conductor of the Church Choral
+Society, which gave various important religious
+works their first production in New
+York, and, in some cases, their first hearing
+in America, notably, Dv&ocirc;r&aacute;k's Requiem Mass,
+Gounod's "Mors et Vita," Liszt's Thirteenth
+Psalm, Saint-Sa&euml;ns' "The Heavens Declare,"
+ <span class="pagenum"><a name="Page_347" id="Page_347">347</a></span>
+Villiers Stanford's "God is Our Hope and
+Strength," and Mackenzie's "Veni, Creator
+Spiritus." Horatio Parker's "Hora Novissima"
+was composed for this society, and
+Chadwick's "Ph&oelig;nix Expirans" given its
+first New York performance.</p>
+
+<p>A prominent organist and teacher is Smith
+N. Penfield, who has also found time for the
+composition of numerous scholarly works,
+notably, an overture for full orchestra, an
+orchestral setting of the eighteenth psalm, a
+string quartette, and many pieces for the
+organ, voice, and piano. His tuition has been
+remarkably thorough. Born in Oberlin,
+Ohio, April 4, 1837, he studied the piano
+in Germany with Moscheles, Papperitz, and
+Reinecke, the organ with Richter, composition,
+counterpoint, and fugue with Reinecke
+and Hauptmann. He had also a period of
+study in Paris.</p>
+
+<p>Another organist of distinction is Frank
+Taft, who is also a conductor and a composer.
+ <span class="pagenum"><a name="Page_348" id="Page_348">348</a></span>
+His most important work is a "Marche Symphonique,"
+which was performed by the Boston
+Symphony Orchestra. He was born in
+East Bloomfield, New York, and had his
+education entirely in this country, studying
+the organ with Clarence Eddy, and theory
+with Frederic Grant Gleason.</p>
+
+<p>A young composer of many graceful songs
+is Charles Fonteyn Manney, who was born
+in Brooklyn in 1872, and studied theory with
+William Arms Fisher in New York, and later
+with J. Wallace Goodrich at Boston. His
+most original song is "Orpheus with His
+Lute," which reproduces the quaint and fascinating
+gaucheries of the text with singular
+charm. He has also set various songs of
+Heine's to music, and a short cantata for
+Easter, "The Resurrection."</p>
+
+<p>An ability that is strongly individual is
+that of Arthur Farwell, whose first teacher
+in theory was Homer A. Norris, and who
+later studied under Humperdinck in Ger<span class="pagenum"><a name="Page_349" id="Page_349">349</a></span>many.
+ Among his works are an elaborate
+ballade for piano and violin, a setting of
+Shelley's "Indian Serenade," and four folk-songs
+to words by Johanna Ambrosius, the
+peasant genius of Germany. Among others
+of his published songs is "Strow Poppy
+Buds," a strikingly original composition.</p>
+
+<p>A writer of numerous elegant trifles and
+of a serious symphony is Harry Patterson
+Hopkins, who was born in Baltimore, and
+graduated at the Peabody Institute in 1896,
+receiving the diploma for distinguished musicianship.
+The same year he went to
+Bohemia, and studied with Dv&ocirc;r&aacute;k. He
+returned to America to assist in the production
+of one of his compositions by Anton
+Seidl.</p>
+
+<p>Very thorough was the foreign training of
+Carl V. Lachmund, whose "Japanese Overture"
+has been produced under the direction
+of Thomas and Seidl, in the former case at a
+concert of that society at which many impor<span class="pagenum"><a name="Page_350" id="Page_350">350</a></span>tant
+ native works have had their only hearing,
+the Music Teachers' National Association.
+Lachmund was born at Booneville, Mo., in
+1854. At the age of thirteen he began his
+tuition at Cologne, under Heller, Jensen, and
+Seiss; later he went to Berlin to study
+with the Scharwenkas, Kiel, and Moskowski.
+He had also four years of Liszt's training at
+Weimar. A trio for harp, violin, and 'cello
+was played by the Berlin Philharmonic Orchestra,
+and a concert prelude for the piano
+was much played in concerts in Germany.
+Before returning to America, Lachmund was
+for a time connected with the opera at
+Cologne.</p>
+
+<h3><br /><i>The Boston Colony.</i></h3>
+
+<p>To the composer potentially a writer of
+grand operas, but barred out by the absolute
+lack of opening here, the dramatic ballad
+should offer an attractive form. Such works
+as Schubert's "Erl-King" show what can be
+ <span class="pagenum"><a name="Page_351" id="Page_351">351</a></span>
+done. Henry Holden Huss has made some
+interesting experiments, and Fred. Field
+Bullard has tried the field.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="FREDERICK_FIELD_BULLARD" id="FREDERICK_FIELD_BULLARD"></a>
+<img src="images/bullard.png" width="271" height="400" alt="" />
+</p>
+
+<p class="caption">FREDERICK FIELD BULLARD.</p>
+
+<p><br />Bullard's setting of Tennyson's almost lurid
+melodrama in six stanzas, "The Sisters," has
+caught the bitter mixture of love and hate,
+and avoided claptrap climaxes most impressively.</p>
+
+<p>"In the Greenwood" (op. 14) is graceful,
+and "A June Lullaby" has a charming accompaniment
+of humming rain. Bullard has
+set some of Shelley's lyrics for voice and
+harp or piano, in opus 17. "From Dreams of
+Thee" gets a delicious quaintness of accompaniment,
+while the "<a href="#PAN">Hymn of Pan</a>" shows
+a tremendous savagery and uncouthness, with
+strange and stubborn harmonies. Full of the
+same roborific virility are his settings to the
+songs of Richard Hovey's writing, "Here's a
+Health to Thee, Roberts," "Barney McGee,"
+and the "Stein Song." These songs have
+an exuberance of the roistering spirit, along<span class="pagenum"><a name="Page_354" id="Page_354">354</a></span>
+with a competence of musicianship that lifts
+them above any comparison with the average
+balladry. Similarly "The Sword of Ferrara,"
+with its hidalgic pride, and "The Indifferent
+Mariner," and the drinking-song, "The
+Best of All Good Company," are all what
+Horace Greeley would have called "mighty
+interesting." Not long ago I would have
+wagered my head against a hand-saw, that no
+writer of this time could write a canon with
+spontaneity. But then I had not seen Bullard's
+three duets in canon form. He has
+chosen his words so happily and expressed
+them so easily, and with such arch raillery,
+that the duets are delicious. Of equal gaiety
+is "The Lass of Norwich Town," which,
+with its violin obbligato, won a prize in the
+<i>Musical Record</i> competition of 1899.<br /><br /></p>
+
+<div class="musicbox">
+<a name="PAN" id="PAN"></a>
+<h2><br />HYMN OF PAN.</h2>
+
+<p class="center">[<a href="music/pan.midi">Listen</a>]</p>
+
+<table style="width: 100%" border="0" cellpadding="4" cellspacing="0" summary="credits">
+<tr>
+<td class="center" style="vertical-align: top">
+<b>Words by<br />
+PERCY BYSSHE SHELLEY.</b>
+</td>
+<td>&nbsp;</td>
+<td class="center">
+<b>Music by<br />
+FRED. FIELD BULLARD,<br />
+Op. 17, No. 4.</b>
+</td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images/pan01.png" width="700" height="869" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/pan02.png" width="700" height="939" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1894, by Miles &amp; Thompson.</b></span></p>
+
+<p class="cpoem"><br />
+From the forests and highlands I come, I come;<br />
+From the river-girt islands,<br />
+Where waves are dumb;<br />
+From the forests and highlands,<br />
+From the river-girt islands,<br />
+I come, I come, I come.<br />
+The wind in the reeds and the rushes,<br />
+The bees in the bells of thyme,<br />
+The birds in the myrtle bushes,<br />
+The....
+</p>
+
+<p class="caption"><br />A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />Bullard was born at Boston, in 1864. He
+studied chemistry at first, but the claims
+of music on his interest were too great, and
+in 1888 he went to Munich, where he studied
+ <span class="pagenum"><a name="Page_355" id="Page_355">355</a></span>
+with Josef Rheinberger. After four years of
+European life he returned to Boston, where
+he has taught harmony and counterpoint
+along rather original lines. He is a writer
+with ideas and resources that give promise
+of a large future. His scholarship has not
+led him away from individuality. He is
+especially likely to give unexpected turns
+of expression, little bits of programmism
+rather incompatible with the ballad form
+most of his songs take. The chief fault with
+his work is the prevailing dun-ness of his
+harmonies. They have not felt the impressionistic
+revolt from the old bituminous school.
+But in partial compensation for this bleakness
+is a fine ruggedness.</p>
+
+<p>Of his other published songs, "At Daybreak"
+shows a beautiful fervor of repression.
+"On the Way" is redeemed by a
+particularly stirring finish. In opus 8, "A
+Prayer" is begun in D minor and ended
+in D major, with a strong effect of sudden
+ <span class="pagenum"><a name="Page_356" id="Page_356">356</a></span>
+exaltation from gloom. "The Singer" begins
+also in sombre style with unusual
+and abrupt modulations, and ends in a bright
+major. "The Hermit" is likewise grim,
+but is broad and deep. It uses a hint of
+"Old Hundred" in the accompaniment.</p>
+
+<p>Opus 11 couples two dramatic ballads.
+In this form of condensed drama is a too-little
+occupied field of composition, and Bullard
+has written some part songs, of which "In
+the Merry Month of May," "Her Scuttle
+Hat," and "The Water Song" are worth
+mentioning. "O Stern Old Land" is a rather
+bathetic candidate for the national hymnship.
+But his "War Song of Gamelbar," for male
+voices, is really a masterwork. Harmonists
+insist on so much closer compliance with
+rules for smoothness in vocal compositions
+than in instrumental work, that the usual
+composer gives himself very little liberty
+here. Bullard, however, has found the right
+occasion for wild dissonances, and has dared
+ <span class="pagenum"><a name="Page_357" id="Page_357">357</a></span>
+to use them. The effect is one of terrific
+power. This, his "Song of Pan" and "The
+Sisters" give him a place apart from the rest
+of native song-writers.</p>
+
+<p>With all reverence for German music, it
+has been too much inclined of late to domineer
+the rest of the world, especially America.
+A useful counter-influence is that of
+Homer A. Norris, who has stepped out of
+the crowd flying to Munich and neighboring
+places, and profited by Parisian harmonic
+methods.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="HOMER_A_NORRIS" id="HOMER_A_NORRIS"></a>
+<img src="images/norris.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">HOMER A. NORRIS.</p>
+
+<p><br />His book, "Practical Harmony," imparts a,
+to us, novel method of disarming the bugaboo
+of altered chords of many of its notorious
+terrors. He also attacks the pedantry of
+music "so constructed that it appeals to the
+eye rather than the ear,&mdash;paper-work," a
+most praiseworthy assault on what is possibly
+the heaviest incubus on inspiration. In a
+later work on "Counterpoint" he used for
+chapter headings Greek vases and other
+ <span class="pagenum"><a name="Page_358" id="Page_358">358</a></span>
+decorative designs, to stimulate the ideal of
+counterpoint as a unified complexity of graceful
+contours.</p>
+
+<p>Norris was born in Wayne, Me., and became
+an organist at an early age. His chief
+interest has been, however, in the theory of
+music, and he studied with G.W. Marston,
+F.W. Hale, and G.W. Chadwick, as well as
+Emery. In deciding upon foreign study he
+was inspired to choose France instead of Germany.
+This has given him a distinct place.</p>
+
+<p>After studying in Paris for four years
+under Dubois, Godard, Guilmant, and Gigout,
+he made his home in Boston, where he has
+since confined himself to the teaching of
+composition.</p>
+
+<p>As yet Mr. Norris has composed little,
+and that little is done on simple lines, but
+the simplicity is deep, and the harmonies,
+without being bizarre, are wonderfully mellow.</p>
+
+<p>His first song, "Rock-a-bye, Baby," he sold
+for twelve printed copies, and it is said to
+ <span class="pagenum"><a name="Page_359" id="Page_359">359</a></span>
+have had a larger sale than any cradle-song
+ever published in this country. His song,
+"Protestations," is tender, and has a violin
+obbligato that is really more important than
+the voice part. The song, "Parting," is wild
+with passion, and bases a superb melody on
+a fitting harmonic structure. I consider
+"Twilight" one of the best American songs.
+It gets some unusual effects with intervals
+of tenths and ninths, and shows a remarkable
+depth of emotion.</p>
+
+<p>In the larger forms he has done a concert
+overture, "Zoroaster" (which, judging from
+an outline, promises many striking effects),
+and a cantata, "Nain," which has the sin of
+over-repetition of words, but is otherwise
+marked with telling pathos and occasional
+outbursts of intensely dramatic feeling.</p>
+
+<p>Perhaps his most original work is seen in
+his book of "Four Songs for Mezzo-Voice."
+The first is Kipling's "O Mother Mine," with
+harshnesses followed by tenderest musings;
+ <span class="pagenum"><a name="Page_360" id="Page_360">360</a></span>
+the second is a noble song, "<a href="#PEACE">Peace</a>," with an
+accompaniment consisting entirely of the
+slowly descending scale of C major; a high-colored
+lilt, "The World and a Day," is followed
+by a Maeterlinckian recitative of the
+most melting pathos. This book is another
+substantiation of my belief that America is
+writing the best of the songs of to-day.<br /><br /></p>
+
+<div class="musicbox">
+<a name="PEACE" id="PEACE"></a>
+
+<h2><br />Peace.</h2>
+
+<p class="center">[<a href="music/peace.midi">Listen</a>]</p>
+
+<p><span style="margin-left: 3em;"><b><span class="smcap">Edward Rowland Sill</span>.</b></span><span style="margin-left: 20em;"><b><span class="smcap">Homer A. Norris.</span></b></span></p>
+
+<p class="center">
+<img src="images/peace01.png" width="700" height="778" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/peace02.png" width="700" height="985" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1900, by H.B. Stevens Co. International copyright secured.</b></span></p>
+<p><span style="margin-left: 3em;"><b>Used by permission of H.B. Stevens Co., Boston, owners of the copyright.</b></span></p>
+
+<p class="cpoem"><br />
+'Tis not in seeking,<br />
+'Tis not in endless striving,<br />
+Thy quest is found:<br />
+Thy quest is found.<br />
+Be still and listen;<br />
+Be still and drink the quiet of all around<br />
+Not for thy crying,<br />
+Not for thy loud beseeching,<br />
+Will peace draw near:<br />
+Will peace draw near:<br />
+Rest with palms folded,<br />
+Rest with thine eyelids fallen<br />
+Lo! peace is here.<br /><br />
+</p>
+</div>
+
+<p><br />One of the best-esteemed musicians in
+Boston, G.E. Whiting has devoted more of his
+interest to his career as virtuoso on the
+organ than to composition. Not many of
+such works as he has found time to write
+have been printed. These include an organ
+sonata, a number of organ pieces, a book of
+studies for the organ, six songs, and three
+cantatas for solos, chorus, and orchestra, "A
+Tale of the Viking," "Dream Pictures," and
+"A Midnight Cantata."</p>
+
+<p>Whiting was born at Holliston, Mass.,
+September 14, 1842. At the age of five, he
+began the study of music with his brother.
+ <span class="pagenum"><a name="Page_361" id="Page_361">361</a></span>
+At the age of fifteen, he moved to Hartford,
+Conn., where he succeeded Dudley Buck as
+organist of one of the churches. Here he
+founded the Beethoven Society. At the age
+of twenty he went to Boston, and after
+studying with Morgan, went to Liverpool,
+and studied the organ under William Thomas
+Best. Later he made a second pilgrimage
+to Europe, and studied under Radeck.</p>
+
+<p>For many years he has lived in Boston as
+a teacher of music and performer upon the
+organ. In manuscript are a number of works
+which I have not had the privilege of seeing:
+two masses for chorus, orchestra, and organ,
+a concert overture, a concerto, a sonata, a
+fantasy and fugue, a fantasy and three &eacute;tudes,
+a suite for 'cello and piano, and a setting of
+Longfellow's "Golden Legend," which won
+two votes out of five in the thousand dollar
+musical festival of 1897, the prize being
+awarded to Dudley Buck.</p>
+
+<p>Of his compositions H.E. Krehbiel in<span class="pagenum"><a name="Page_364" id="Page_364">364</a></span>
+1892 recorded the opinion that they "entitled
+him to a position among the foremost musicians
+in this country." He is an uncle of
+Arthur Whiting.</p>
+
+<p>G.W. Marston's setting of the omnipresent
+"Du bist wie eine Blume" is really one of the
+very best Heine's poem has ever had. Possibly
+it is the best of all the American settings.
+His "There Was an Aged Monarch" is seriously
+deserving of the frankest comparison
+with Grieg's treatment of the same <i>Lied</i>. It
+is interesting to note the radical difference of
+their attitudes toward it. Grieg writes in a
+folk-tone that is severe to the point of grimness.
+He is right because it is <i>ein altes Liedchen</i>,
+and Heine's handling of it is also kept
+outwardly cold. But Marston has rendered
+the song into music of the richest harmony
+and fullest pathos. He is right, also, because
+he has interpreted the undercurrent of the
+story.</p>
+
+<p>Bodenstedt's ubiquitous lyric, "Wenn der
+ <span class="pagenum"><a name="Page_365" id="Page_365">365</a></span>
+Fr&uuml;hling auf die Berge steigt," which rivals
+"Du bist wie eine Blume" in the favor of
+composers, has gathered Marston also into
+its net. He gives it a climax that fairly
+sweeps one off his feet, though one might
+wish that the following and final phrase had
+not forsaken the rich harmonies of the climax
+so completely.</p>
+
+<p>This song is the first of a "Song Album"
+for sopranos, published in 1890. In this
+group the accompaniments all receive an
+attention that gives them meaning without
+obtrusiveness. "The Duet" is a delicious
+marriage of the song of a girl and the accompanying
+rapture of a bird.</p>
+
+<p>A captivating little florid figure in the
+accompaniment of a setting of "Im wunder-sch&ouml;nen
+Monat Mai" gives the song worth.
+"On the Water" is profound with sombreness
+and big simplicity. "The Boat of My
+Lover" is quaintly delightful.</p>
+
+<p>Marston was born in Massachusetts, at the
+ <span class="pagenum"><a name="Page_366" id="Page_366">366</a></span>
+little town of Sandwich, in 1840. He studied
+there, and later at Portland, Me., with John
+W. Tufts, and has made two pilgrimages to
+Europe for instruction. He played the organ
+in his native town at the age of fifteen, and
+since finishing his studies has lived at Portland,
+teaching the piano, organ, and harmony.
+From the start his songs caught popularity,
+and were much sung in concert.</p>
+
+<p>Marston has written a sacred dramatic
+cantata, "David," and a large amount of
+church music that is very widely used.
+He has written also a set of quartettes and
+trios for women's voices, and quartettes for
+men's voices.</p>
+
+<p>Possibly his best-known song has been his
+"Could Ye Come Back to Me, Douglas,"
+which Mrs. Craik called the best of all her
+poem's many settings.</p>
+
+<p>Only Marston's later piano pieces are really
+<i>klavierm&auml;ssig</i>. So fine a work as his "Gavotte
+in B Minor" has no need to consider the <span class="pagenum"><a name="Page_367" id="Page_367">367</a></span>
+resources of the modern instrument. It has
+a color scheme of much originality, though
+it is marred by over-repetition. "A Night
+in Spain" is a dashing reminiscence, not
+without Spanish spirit, and an "Album
+Leaf" is a divertissement of contagious enthusiasm.</p>
+
+<p class="center"><br />
+<img src="images/marstonauto.png" width="600" height="273" alt="Autograph of G.W. Marston" />
+</p>
+
+<p><br />Ariel's songs, from "The Tempest," are
+given a piano interpretation that reaches a
+high plane. There is a storm prologue which
+suggests, in excellent harmonies, the distant
+mutter of the storm rather than a piano-gutting
+tornado. "Full Fathoms Five Thy
+Father Lies" is a reverie of wonderful depth
+and originality, with a delicious variation on
+ <span class="pagenum"><a name="Page_368" id="Page_368">368</a></span>
+the good old-fashioned cadence. Thence it
+works up into an immensely powerful close.
+A dance, "Foot it Featly," follows. It is
+sprightly, and contains a fetching cadenza.</p>
+
+<p>One of the most prolific writers of American
+song is Clayton Johns. He is almost
+always pleasing and polished. While
+he is not at all revolutionary, he has a certain
+individuality of ease, and lyric quality
+without storm or stress of passion. Thus
+his settings of seven "Wanderlieder" by
+Uhland have all the spirit of the road except
+ruggedness.</p>
+
+<p>His setting of "Du bist wie eine Blume"
+is extremely tender and sweet.</p>
+
+<p>Two of Johns' best successes have been
+settings of Egyptian subjects: "Were I a
+Prince Egyptian" and Arlo Bates' fine lyric,
+"No Lotus Flower on Ganges Borne." The
+latter is a superb song of unusual fire, with
+a strong effect at the end, the voice ceasing
+at a deceptive cadence, while the accompani<span class="pagenum"><a name="Page_369" id="Page_369">369</a></span>ment
+ sweeps on to its destiny in the original
+key. He has also found a congenial subject
+in Austin Dobson's "The Rose and the Gardener."
+He gets for a moment far from its
+florid grace in "I Looked within My Soul,"
+which has an unwonted bigness, and is a
+genuine <i>Lied</i>.</p>
+
+<p>In later years Johns' songs have been
+brought out in little albums, very artistically
+got up, especially for music (which has been
+heinously printed, as a rule, in this country).
+These albums include three skilfully written
+"English Songs," and three "French
+Songs," "Soupir" taking the form of melodic
+recitative. Opus 19 is a group of "Wonder
+Songs," which interpret Oliver Herford's
+quaint conceits capitally.</p>
+
+<p>Opus 26 collects nine songs, of which
+"Princess Pretty Eyes" is fascinatingly archaic.
+It is good to see him setting two
+such remotely kindred spirits as Herrick and
+Emily Dickinson. The latter has hardly been
+ <span class="pagenum"><a name="Page_370" id="Page_370">370</a></span>
+discovered by composers, and the former is
+too much neglected.</p>
+
+<p>Johns has also written a few part songs
+and some instrumental works, which maintain
+his characteristics. A delightful "Canzone,"
+a happy "Promenade," and "Mazurka" are
+to be mentioned, and a number of pieces
+for violin and piano, among them a finely
+built intermezzo, a berceuse, a romanza that
+should be highly effective, and a witty scherzino.
+He has written for strings a berceuse
+and a scherzino, which have been played by
+the Boston Symphony Orchestra, and certain
+part songs, as well as a chorus for female
+voices and string orchestra, have been sung
+in London.</p>
+
+<p>Johns was born at New Castle, Del., November
+24, 1857, of American parents.
+Though at first a student of architecture, he
+gave this up for music, and studied at Boston
+under Wm. F. Apthorp, J.K. Paine, and
+W.H. Sherwood, after which he went to  Ber<span class="pagenum"><a name="Page_371" id="Page_371">371</a></span>lin, where he studied under Kiel, Grabau,
+Raif, and Franz Rummel. In 1884 he made
+Boston his home.</p>
+
+<p>If San Francisco had found some way of
+retaining the composers she has produced,
+she would have a very respectable colony.
+Among the others who have come east to
+grow up with music is William Arms Fisher,
+who was born in San Francisco, April 27,
+1861. The two composers from whom he
+derives his name, Joshua Fisher and William
+Arms, settled in Massachusetts colony in the
+seventeenth century. He studied harmony,
+organ, and piano with John P. Morgan. After
+devoting some years to business, he committed
+his life to music, and in 1890 came to New York,
+where he studied singing. Later he
+went to London to continue his vocal studies.
+Returning to New York, he took up counterpoint
+and fugue with Horatio W. Parker, and
+composition and instrumentation with Dv&ocirc;r&aacute;k.
+After teaching harmony for several years, he
+<span class="pagenum"><a name="Page_372" id="Page_372">372</a></span>
+went to Boston, where he now lives. His
+work has been almost altogether the composition
+of songs. A notable feature of his
+numerous publications is their agreeable diversion
+from the usual practice of composers,
+which is to write lyrics of wide range and
+high pitch. Nearly all his songs are written
+for the average voice.</p>
+
+<p>His first opus contains a setting of "Nur
+wer die Sehnsucht kennt," which I like better
+than the banal version Tscha&iuml;kowski made of
+the same words. The third opus contains three
+songs to Shelley's words. They show something
+of the intellectual emotion of the poet.
+The first work, "A Widow Bird Sate Mourning,"
+is hardly lyrical; "My Coursers Are Fed
+with the Lightning" is a stout piece of writing,
+but the inspired highfalutin of the words
+would be trying upon one who arose to sing
+the song before an audience. This, by the
+way, is a point rarely considered by the
+unsuccessful composers, and the words which
+<span class="pagenum"><a name="Page_373" id="Page_373">373</a></span>
+the singer is expected to declare to an ordinary
+audience are sometimes astounding. The
+third Shelley setting, "The World's Wanderer,"
+is more congenial to song.</p>
+
+<p>Opus 5 is entitled "Songs without Tears."
+These are for a bass voice, and by all odds the
+best of his songs. An appropriate setting
+is Edmund Clarence Stedman's "Falstaff's
+Song," a noteworthy lyric of toss-pot moralization
+on death. His song of "Joy" is exuberant
+with spring gaiety, and some of his best
+manner is seen in his "El&eacute;gie," for violin and
+piano. He has also written a deal of church
+song.</p>
+
+<p>A venerable and distinguished teacher and
+composer is James C.D. Parker, who was
+born at Boston, in 1828, and graduated from
+Harvard in 1848. He at first studied law,
+but was soon turned to music, and studied
+for three years in Europe under Richter,
+Plaidy, Hauptmann, Moscheles, Rietz, and
+Becker. He graduated from the conserva<span class="pagenum"><a name="Page_374" id="Page_374">374</a></span>tory
+ at Leipzig, and returned to Boston in
+1845.</p>
+
+<p>His "Redemption Hymn" is one of his
+most important works, and was produced in
+Boston by the Handel and Haydn Society
+in 1877. He also composed other works for
+orchestra and chorus, and many brilliant piano
+compositions.</p>
+
+<p>An interesting method of writing duets is
+that employed in the "Children's Festival,"
+by Charles Denn&eacute;e. The pupil plays in some
+places the primo, and in others the secondo,
+his part being written very simply, while the
+part to be played by the teacher is written
+with considerable elaboration, so that the
+general effect is not so narcotic as usual with
+duets for children. Denn&eacute;e has written,
+among many works of little specific gravity, a
+"Suite Moderne" of much skill, a suite for
+string orchestra, an overture and sonatas
+for the piano and for the violin and piano,
+as well as various comic operas. He was
+ <span class="pagenum"><a name="Page_375" id="Page_375">375</a></span>
+born in Oswego, N.Y., September 1, 1863,
+and studied composition with Stephen A.
+Emery.</p>
+
+<p>A composer of a genial gaiety, one who
+has written a good minuet and an "Evening
+Song" that is not morose, is Benjamin Lincoln
+Whelpley, who was born at Eastport, Me.,
+October 23, 1863, and studied the piano at
+Boston with B.J. Lang, and composition with
+Sidney Homer and others. He also studied
+in Paris for a time in 1890. He has written
+a "Dance of the Gnomes," that is characteristic
+and brilliantly droll, and a piano
+piece, called "Under Bright Skies," which
+has the panoply and progress of a sunlit
+cavalcade.</p>
+
+<p>Ernest Osgood Hiler has written some
+good music for the violin, a book of songs for
+children, "Cloud, Field, and Flower," and
+some sacred music. He studied in Germany
+for two years.
+<span class="pagenum"><a name="Page_376" id="Page_376">376</a></span></p>
+
+<h3><br /><i>The Chicago Colony.</i></h3>
+
+<p>Most prominent among Chicago's composers
+is doubtless Frederic Grant Gleason,
+who has written in the large forms with distinguished
+success. The Thomas Orchestra
+has performed a number of his works, which
+is an excellent praise, because Thomas, who
+has done so much for American audiences,
+has worried himself little about the American
+composer. At the World's Fair, which
+was, in some ways, the artistic birthday of
+Chicago, and possibly the most important
+artistic event in our national history, some of
+Gleason's works were performed by Thomas'
+organization, among them the <i>Vorspiel</i> to
+an opera, "Otho Visconti" (op. 7), for which
+Gleason wrote both words and music.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="FREDERIC_GRANT_GLEASON" id="FREDERIC_GRANT_GLEASON"></a>
+<img src="images/gleason.png" width="273" height="400" alt="" />
+</p>
+
+<p class="caption">FREDERIC GRANT GLEASON.</p>
+
+<p><br />This <i>Vorspiel</i>, like that to "Lohengrin," is
+short and delicate. It begins ravishingly
+with flutes and clarinets and four violins,
+pianissimo, followed by a blare of brass.
+After this introductory period the work runs
+ <span class="pagenum"><a name="Page_377" id="Page_377">377</a></span>
+through tenderly contemplative musing to
+the end, in which, again, the only strings are
+the four violins, though here they are accompanied
+by the brass and wood-winds and tympani,
+the cymbals being gently tapped with
+drumsticks. The introduction to the third
+act of the opera is more lyrical, but not so
+fine. Another opera is "<a href="#MONTEZUMA">Montezuma</a>" (op.
+16). Gleason is again his own librettist. Of
+this opera I have been privileged to see
+the complete piano score, and much of the
+orchestral.<br /><br /></p>
+
+<div class="musicbox">
+<a name="MONTEZUMA" id="MONTEZUMA"></a>
+
+<h2><br />Montezuma, Act III, Introduction</h2>
+
+<p class="center">[<a href="music/montezuma.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>Frederic Grant Gleason</b></span></p>
+
+<p class="center">
+<img src="images/montezuma.png" width="700" height="777" alt="music" />
+</p>
+
+<p class="caption"><br />EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.</p>
+
+<p class="center">[<a href="images/montezuma-lg.png">Enlarge</a>]<br /><br /></p>
+</div>
+
+<p><br />In the first act Guatemozin, who has
+been exiled by Montezuma, appears disguised
+as an ancient minstrel and sings prophetically
+of the coming of a god of peace
+and love to supplant the terrible idol that
+demands human sacrifice. This superbly
+written aria provokes from the terrified idolaters
+a chorus of fear and reproach that is
+strongly effective. The next act begins
+with an elaborate aria followed by a love duet<span class="pagenum"><a name="Page_379" id="Page_379">379</a></span>
+of much beauty. A heavily scored priests'
+march is one of the chief numbers, and like
+most marches written by the unco' learned,
+it is a grain of martial melody in a bushel of
+trumpet figures and preparation. The Wagnerian
+<i>leit-motif</i> idea is adopted in this and
+other works of his, and the chief objection to
+his writing is its too great fidelity to the
+Wagnerian manner,&mdash;notably in the use of
+suspensions and passing-notes,&mdash;otherwise he
+is a very powerful harmonist and an instrumenter
+of rare sophistication. A soprano
+aria with orchestral accompaniment has been
+taken from the opera and sung in concert
+with strong effect.</p>
+
+<p>Another work played at the World's Fair
+by Thomas, is a "Processional of the Holy
+Grail." It is scored elaborately, but is rather
+brilliant than large. It complimentarily introduces
+a hint or two of Wagner's Grail
+motif.</p>
+
+<p>The symphonic poem, "Edris," was also
+ <span class="pagenum"><a name="Page_380" id="Page_380">380</a></span>
+performed by the Thomas Orchestra. It is
+based upon Marie Corelli's novel, "Ardath,"
+which gives opportunity for much programmism,
+but of a mystical highly colored
+sort for which music is especially competent.
+It makes use of a number of remarkably beautiful
+motives. One effect much commented
+upon was a succession of fifths in the bass,
+used legitimately enough to express a dreariness
+of earth.</p>
+
+<p>This provoked from that conservative
+of conservatives, the music copyist, a patronizing
+annotation, "Quinten!" to which Gleason
+added "Gewiss!" A series of augmented
+triads, smoothly manipulated, was another
+curiosity of the score.</p>
+
+<p>Possibly Gleason's happiest work is his
+exquisite music for that most exquisite of
+American poems, "The Culprit Fay." It is
+described in detail in Upton's "Standard
+Cantatas," and liberally quoted from in Goodrich'
+"Musical Analysis." While I have
+ <span class="pagenum"><a name="Page_381" id="Page_381">381</a></span>
+seen both the piano and orchestral scores of
+this work (op. 15), and have seen much
+beauty in them, my space compels me to
+refer the curious reader to either of these
+most recommendable books.</p>
+
+<p>Gleason has had an unusual schooling.
+He was born in Middletown, Conn., in 1848.
+His parents were musical, and when at sixteen
+he wrote a small matter of two oratorios
+without previous instruction, they put him to
+study under Dudley Buck. From his tuition
+he graduated to Germany, and to such teachers
+as Moscheles, Richter, Plaidy, Lobe, Raif,
+Taussig, and Weitzmann. He studied in
+England after that, and returned again to
+Germany. When he reappeared in America
+he remained a while at Hartford, Conn.,
+whence he went to Chicago in 1876. He has
+lived there since, working at teaching and
+composition, and acting as musical critic of
+the Chicago <i>Tribune</i>. An unusually gifted
+body of critics, dramatic, musical, and literary,<span class="pagenum"><a name="Page_382" id="Page_382">382</a></span>
+has worked upon the Chicago newspapers,
+and Gleason has been prominent among
+them.</p>
+
+<p>Among other important compositions of
+his are a symphonic cantata, "The Auditorium
+Festival Ode," sung at the dedication of
+the Chicago Auditorium by a chorus of five
+hundred; sketches for orchestra, a piano concerto,
+organ music, and songs.</p>
+
+<p>As is shown by the two or three vocal
+works of his that I have seen, Gleason is less
+successful as a melodist than as a harmonist.
+But in this latter capacity he is gifted indeed,
+and is peculiarly fitted to furnish forth with
+music Ebling's "Lobgesang auf die Harmonie."
+In his setting of this poem he has used a
+soprano and a barytone solo with male chorus
+and orchestra. The harmonic structure
+throughout is superb in all the various virtues
+ascribed to harmony. The ending is
+magnificent.</p>
+
+<p>A work completed December, 1899, for<span class="pagenum"><a name="Page_383" id="Page_383">383</a></span>
+production by the Thomas Orchestra, is a
+symphonic poem called "The Song of Life,"
+with this motto from Swinburne:</p>
+
+<p class="cpoeml">
+"They have the night, who had, like us, the day;<br />
+We whom the day binds shall have night as they;<br />
+We, from the fetters of the light unbound,<br />
+Healed of our wound of living, shall sleep sound."<br />
+</p>
+
+<p>The first prominent musician to give a
+certain portion of his program regularly to
+the American composer, was William H.
+Sherwood. This recognition from so distinguished
+a performer could not but interest
+many who had previously turned a deaf ear
+to all the musical efforts of the Eagle. In
+addition to playing their piano works, he
+has transcribed numerous of their orchestral
+works to the piano, and played them. In
+short, he has been so indefatigable a laborer
+for the cause of other American composers,
+that he has found little time to write his own
+ideas.<span class="pagenum"><a name="Page_384" id="Page_384">384</a></span></p>
+
+<p class="border" style="text-align: center"><br />
+<a name="WILLIAM_H_SHERWOOD" id="WILLIAM_H_SHERWOOD"></a>
+<img src="images/sherwood.png" width="274" height="400" alt="" />
+</p>
+
+<p class="caption">WILLIAM H. SHERWOOD.</p>
+
+<p><br />Sherwood will be chiefly remembered as a
+pianist, but he has written a certain amount
+of music of an excellent quality. Opera 1-4
+were published abroad. Opus 5 is a suite,
+the second number of which is an "<a href="#IDYLLE_SHERWOOD">Idylle</a>"
+that deserves its name. It is as blissfully
+clear and ringing as anything could well be,
+and drips with a Theokritan honey. The
+third number of the suite is called "Greetings."
+It has only one or two unusual
+touches. Number 4 bears the suggestive
+title, "Regrets for the Pianoforte." It was
+possibly written after some of his less
+promising pupils had finished a lesson.
+The last number of the suite is a quaint
+Novelette.<br /><br /></p>
+
+<div class="musicbox">
+<a name="IDYLLE_SHERWOOD" id="IDYLLE_SHERWOOD"></a>
+
+<h2><br />IDYLLE.</h2>
+
+<p class="center">[<a href="music/idyllesherwood.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>WM. H. SHERWOOD, OP. 5, NO. 2.</b></span></p>
+
+<p class="center">
+<img src="images/idylle-s.png" width="700" height="993" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1883, by G. Schirmer.</b></span></p>
+
+<p class="caption"><br />A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />Sherwood's sixth opus is made up of a
+brace of mazurkas. The former, in C minor,
+contains some of his best work. It is original
+and moody, and ends strongly. The
+second, in A major, is still better. It not
+only keeps up a high standard throughout,<span class="pagenum"><a name="Page_386" id="Page_386">386</a></span>
+but shows occasional touches of the most
+fascinating art.</p>
+
+<p>A scherzo (op. 7) cracks a few good
+jokes, but is mostly elaboration. Opus 8 is
+a fiery romanza appassionata. Opus 9 is a
+Scherzo-Caprice. This is probably his best
+work. It is dedicated to Liszt, and though
+extremely brilliant, is full of meaning. It
+has an interlude of tender romance. "Coy
+Maiden" is a graceful thing, but hardly deserves
+the punishment of so horrible a name.
+"A Gypsy Dance" is too long, but it is of
+good material. It has an interesting metre,
+three-quarter time with the first note dotted.
+There is a good effect gained by sustaining certain
+notes over several measures, though few
+pianists get a real sostenuto. An "Allegro
+Patetico" (op. 12), "Medea" (op. 13), and a
+set of small pieces (one of them a burlesque
+called "A Caudle Lecture," with a garrulous
+"said she" and a somnolent "said he") make
+up his rather short list of compositions.
+<span class="pagenum"><a name="Page_387" id="Page_387">387</a></span></p>
+
+<p>Sherwood was born at Lyons, New York,
+of good American stock. His father was his
+teacher until the age of seventeen, when he
+studied with Heimberger, Pychowski, and
+Dr. William Mason. He studied in Europe
+with Kullak and Deppe, Scotson Clark,
+Weitzmann, Doppler, Wuerst, and Richter.
+He was for a time organist in Stuttgart and
+later in Berlin. He was one of those favorite
+pupils of Liszt, and played in concerts abroad
+with remarkable success, winning at the age of
+eighteen high critical enthusiasm. He has
+been more cordially recognized abroad than
+here, but is assuredly one of the greatest
+living pianists. It is fortunate that his
+patriotism keeps him at home, where he is
+needed in the constant battle against the
+indecencies of apathy and Philistinism.</p>
+
+<p>The Yankee spirit of constructive irreverence
+extends to music, and in recent years a
+number of unusually modern-minded theorists
+have worked at the very foundations: Dr.
+ <span class="pagenum"><a name="Page_388" id="Page_388">388</a></span>
+Percy Goetschius (born here, and for long a
+teacher at Stuttgart); O.B. Boise (born here,
+and teaching now in Berlin); Edwin Bruce,
+the author of a very radical work; Homer
+A. Norris; and last, and first, A.J. Goodrich,
+who has made himself one of the most advanced
+of living writers on the theory of
+music, and has made so large a contribution
+to the solidity of our attainments, that he is
+recognized among scholars abroad as one of
+the leading spirits of his time. His success
+is the more pleasing since he was not only
+born but educated in this country.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="A_J_GOODRICH" id="A_J_GOODRICH"></a>
+<img src="images/goodrich.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">A.J. GOODRICH.</p>
+
+<p><br />The town of Chilo, Ohio, was Goodrich'
+birthplace. He was born there in 1847, of
+American parentage. His father taught him
+the rudiments of music and the piano for one
+year, after which he became his own teacher.
+He has had both a thorough and an independent
+instructor. The fact that he has
+been enabled to follow his own conscience
+without danger of being convinced into error
+ <span class="pagenum"><a name="Page_389" id="Page_389">389</a></span>
+by the prestige of some influential master, is
+doubtless to be credited with much of the
+novelty and courage of his work.</p>
+
+<p>His most important book is undoubtedly
+his "Analytical Harmony," though his "Musical
+Analysis" and other works are serious
+and important. This is not the place to
+discuss his technicalities, but one must mention
+the real bravery it took to discard the
+old practice of a figured bass, and to attack
+many of the theoretical fetiches without
+hesitation. Almost all of the old theorists
+have confessed, usually in a footnote to the
+preface or in modest disclaimer lost somewhere
+in the book, that the great masters
+would occasionally be found violating certain
+of their rules. But this did not lead them
+to deducing their rules from the great masters.
+Goodrich, however, has, in this matter,
+begun where Marx ended, and has gone
+further even than Prout. He has gone to
+melody as the groundwork of his harmonic
+ <span class="pagenum"><a name="Page_390" id="Page_390">390</a></span>
+system, and to the practice of great masters,
+old and new, for the tests of all his theories.
+The result is a book which can be unreservedly
+commended for self-instruction to
+the ignorant and to the too learned. It is
+to be followed by a book on "Synthetic
+Counterpoint," of which Goodrich says, "It
+is almost totally at variance with the standard
+books in counterpoint."</p>
+
+<p>In his "Musical Analysis" he quoted freely
+from American composers, and analyzed many
+important native works. He has carried out
+this plan also in his book on "Interpretation,"
+a work aiming to bring more definiteness into
+the fields of performance and terminology.</p>
+
+<p>Goodrich' composition is "a thing of the
+past," he says. In his youth he wrote a
+score or more of fugues, two string quartettes,
+a trio that was played in New York
+and Chicago, a sonata, two concert overtures,
+a hymn for soprano (in English), invisible
+chorus (in Latin), and orchestra, a volume
+ <span class="pagenum"><a name="Page_391" id="Page_391">391</a></span>
+of songs, and numerous piano pieces. He
+writes: "In truth, I believed at one time
+that I was a real composer, but after listening
+to Tscha&iuml;kowski's Fifth Symphony that
+illusion was dispelled. Had not Mrs. Goodrich
+rescued from the flames a few MSS. I
+would have destroyed every note."</p>
+
+<p>Only a piano suite is left, and this leads
+one to regret that Tscha&iuml;kowski should have
+served as a deterrent instead of an inspiration.
+The suite has an inelaborate prelude,
+which begins strongly and ends gracefully,
+showing unusual handling throughout. A
+minuet, taken scherzando, is also most original
+and happy. There is a quaint sarabande, and
+a gavotte written on simple lines, but superbly.
+Its musette is simply captivating. All these
+little pieces indeed show sterling originality
+and unusual resources in a small compass.</p>
+
+<p>W.H. Neidlinger's first three songs
+were kept in his desk for a year and
+then kept by a publisher for a year longer,<span class="pagenum"><a name="Page_392" id="Page_392">392</a></span>
+and finally brought out in 1889. To
+his great surprise, the "Serenade," which
+he calls "just a little bit of commonplace
+melody," had an immense sale and created a
+demand for more of his work. The absolute
+simplicity of this exquisite gem is misleading.
+It is not cheap in its lack of ornament, but it
+eminently deserves that high-praising epithet
+(so pitilessly abused), "chaste." It has the
+daintiness and minute completeness of a
+Tanagra figurine.</p>
+
+<p>Mr. Neidlinger was born in Brooklyn,
+N.Y., in 1863, and was compelled to earn
+the money for his own education and for his
+musical studies. From Dudley Buck and,
+later, C.C. Muller, of New York, he has had
+his only musical instruction. He lived abroad
+for some time, teaching the voice in Paris,
+then returned to live in Chicago. He has
+written two operas, one of them having been
+produced by the Bostonians.</p>
+
+<p>Mr. Neidlinger builds his songs upon one<span class="pagenum"><a name="Page_393" id="Page_393">393</a></span>
+guiding principle, that is, faithfulness to elocutionary
+accent and intonation. As he neatly
+phrases it, his songs are "colored sketches
+on a poet's engravings."</p>
+
+<p>The usual simplicity of Mr. Neidlinger's
+songs does not forbid a dramatic outburst at
+the proper time, as in the fine mood, "A
+Leaf;" or the sombre depth of "Night,"
+"Nocturne," and "Solitude;" or yet the
+sustainedly poignant anguish of "The Pine-tree."
+Occasionally the accompaniment is
+developed with elaborateness, as in the bird-flutings
+of "The Robin," and "Memories,"
+an extremely rich work, with its mellow
+brook-music and a hint of nightingale complaint
+in the minor. "Evening Song," a bit
+of inspired tenderness, is one of Mr. Neidlinger's
+best works. Almost better is "Sunshine,"
+a streak of brilliant fire quenched
+with a sudden cloud at the end. Other
+valuable works are "Messages," the happy
+little Scotch song, "Laddie," and "Dream<span class="pagenum"><a name="Page_394" id="Page_394">394</a></span>ing,"
+ which is now sombre, now fierce with
+outbursts of agony, but always a melody,
+always ariose.</p>
+
+<p>Mr. Neidlinger has made a special study
+of music for children, his book, "Small Songs
+for Small Children," being much used in
+kindergarten work. A book of his, devoted
+to a synthetic philosophy of song, is completed
+for publication; he calls it "Spenser,
+Darwin, Tyndall, etc., in sugar-coated pills;
+geography, electricity, and hundreds of other
+things in song."</p>
+
+
+<h3><br /><i>The Cleveland Colony.</i></h3>
+
+<p>The city of Cleveland contains a musical
+colony which is certainly more important
+than that of any town of its size. About the
+tenth of our cities in population, it is at least
+fourth, and possibly third, in productiveness
+in valuable composition.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="WILSON_G_SMITH" id="WILSON_G_SMITH"></a>
+<img src="images/smith.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">WILSON G. SMITH.</p>
+
+<p><br />The most widely known of Cleveland com<span class="pagenum"><a name="Page_395" id="Page_395">395</a></span>posers
+ is Wilson G. Smith. He has been
+especially fortunate in hitting the golden
+mean between forbidding abstruseness and
+trivial popularity, and consequently enjoys
+the esteem of those learned in music as well
+as of those merely happy in it.</p>
+
+<p class="center"><br />
+<img src="images/smithauto.png" width="600" height="308" alt="Autograph of Wilson G. Smith" />
+</p>
+
+<p><br />His erudition has persuaded him to a large
+simplicity; his nature turns him to a musical
+optimism that gives many of his works a
+Mozartian cheer. Graciousness is his key.</p>
+
+<p>He was born in Elyria, O., and educated
+in the public schools of Cleveland, where he
+graduated. Prevented by delicate health
+from a college education, he has nevertheless,
+ <span class="pagenum"><a name="Page_396" id="Page_396">396</a></span>
+by wide reading, broadened himself into culture,
+and is an essayist of much skill. His
+musical education began in 1876, at Cincinnati,
+where his teacher, Otto Singer, encouraged
+him to make music his profession. In
+1880 he was in Berlin, where he studied for
+several years under Kiel, Scharwenka, Moskowski,
+and Oscar Raif. He then returned
+to Cleveland, where he took up the teaching
+of organ, piano, voice, and composition.</p>
+
+<p>The most important of Smith's earlier
+works was a series of five pieces called
+"Hommage &agrave; Edvard Grieg," which brought
+warmest commendation from the Scandinavian
+master. One of the most striking characteristics
+of Smith's genius is his ability to
+catch the exact spirit of other composers.
+He has paid "homage" to Schumann, Chopin,
+Schubert, and Grieg, and in all he has
+achieved remarkable success, for he has done
+more than copy their little tricks of expression,
+oddities of manner, and pet weaknesses.
+ <span class="pagenum"><a name="Page_397" id="Page_397">397</a></span>
+He has caught the individuality and the
+spirit of each man.</p>
+
+<p>In his compositions in Grieg-ton Smith
+has seized the fascinating looseness of the
+Griegorian tonality and its whimsicality. The
+"Humoresque" is a bit of titanic merriment;
+the "Mazurka" is most deftly built and is
+full of dance-fire; the "Arietta" is highly
+original, and the "Capricietto" shows such
+ingenious management of triplets, and has
+altogether such a crisp, brisk flavor, that it
+reminds one of Lamb's rhapsody on roast
+pig, where he exclaims, "I tasted <i>crackling</i>!"
+The "Romance," superb in gloom and largeness
+of treatment, is worthy of the composer
+of "The Death of Asra." A later work,
+"Caprice Norwegienne," is also a strong
+brew of Scandinavian essence.</p>
+
+<p>A "Schumannesque" is written closely on
+the lines of Schumann's "Arabesque." A
+later "Hommage &agrave; Schumann" is equally
+faithful to another style of the master, and
+ <span class="pagenum"><a name="Page_398" id="Page_398">398</a></span>
+dashes forth with characteristic and un-na&iuml;ve
+gaiety and challenging thinness of harmony,
+occasionally bursting out into great rare
+chords, just to show what can be done when
+one tries.</p>
+
+<p>The man that could write both this work
+and the highly faithful "Hommage &agrave; Schubert,"
+and then whirl forth the rich-colored,
+sensuous fall and purr of the "Hommage &agrave;
+Chopin," must be granted at least an unusual
+command over pianistic materials, and a most
+unusual acuteness of observation.</p>
+
+<p>He can write <i>&agrave; la</i> Smith, too, and has a
+vein quite his own, even though he prefers
+to build his work on well-established lines,
+and fit his palette with colors well tempered
+and toned by the masters.</p>
+
+<p>In this line is opus 21, a group of four
+pieces called "Echoes of Ye Olden Time."
+The "Pastorale" is rather Smithian than
+olden, with its mellow harmony, but the
+"Minuetto" is the perfection of chivalric fop<span class="pagenum"><a name="Page_399" id="Page_399">399</a></span>pery
+ and pompous gaiety. The "Gavotte"
+suggests the contagious good humor of Bach,
+and the "Minuetto Grazioso," the best of
+the series, has a touch of the goodly old
+intervals, tenths and sixths, that taste like
+a draught of spring water in the midst of
+our modern liqueurs.</p>
+
+<p>The musical world in convention assembled
+has covenanted that certain harmonies
+shall be set apart for pasturage. Just why
+these arbitrary pastorales should suggest
+meads and syrinxes, and dancing shepherds,
+it would be hard to tell. But this effect they
+certainly have, and a good pastorale is a
+better antidote for the blues and other civic
+ills than anything I know, except the actual
+green and blue of fields and skies. Among
+the best of the best pastoral music, I should
+place Smith's "Gavotte Pastorale." It is one
+of the five pieces in his book of "Romantic
+Studies" (op. 57).</p>
+
+<p>This same volume contains a "Scherzo
+<span class="pagenum"><a name="Page_400" id="Page_400">400</a></span>
+ alla Tarantella," which is full of reckless wit.
+But the <i>abandon</i> is so happy as to seem misplaced
+in a tarantella, that dance whose
+traditional origin is the maniacal frenzy produced
+by the bite of the tarantula. An earlier
+Tarantella (op. 34) is far truer to the meaning
+of the dance, and fairly raves with shrieking
+fury and shuddering horror. This is
+better, to me, than Heller's familiar piece.</p>
+
+<p>The "Second Gavotte" is a noble work,
+the na&iuml;ve gaiety of classicism being enriched
+with many of the great, pealing chords the
+modern piano is so fertile in. I count it as
+one of the most spontaneous gavottes of
+modern times, one that is buoyant with the
+afflation of the olden days. It carries a musette
+of which old Father Bach need not have
+felt ashamed,&mdash;one of the most ingenious
+examples of a drone-bass ever written.</p>
+
+<p>The "Menuet Moderne" is musical champagne.
+A very neat series of little variations
+is sheafed together, and called
+ <span class="pagenum"><a name="Page_401" id="Page_401">401</a></span>
+"Mosaics." Mr. Smith has written two
+pieces well styled "Mazurka Po&eacute;tique;" the
+later (opus 48) is the more original, but the
+sweet geniality and rapturously beautiful
+ending of opus 38 is purer music. "Les
+Papillons" is marked with a strange touch of
+negro color; it is, as it were, an Ethiopiano
+piece. Its best point is its cadenza. Smith
+has a great fondness for these brilliant precipitations.
+They not only give further evidence
+of his fondness for older schools, but
+they also partially explain the fondness of
+concert performers for his works. His fervid
+"Love Sonnet," his "Polonaise de Concert,"
+full of virility as well as virtuosity, and his
+delicious "Mill-wheel Song," and a late
+composition, a brilliant "Papillon," rich as a
+butterfly's wing, are notable among his
+numerous works. Possibly his largest achievement
+is the three concert-transcriptions for
+two pianos. He has taken pieces by Grieg,
+Raff, and Bachmann, and enlarged, enforced,
+ <span class="pagenum"><a name="Page_402" id="Page_402">402</a></span>
+decorated, and in every way ennobled them.
+But to me his most fascinatingly original
+work is his "<a href="#ARABESQUE">Arabesque</a>," an entirely unhackneyed
+and memorable composition.</p>
+
+<p>Smith's experience in teaching has crystallized
+into several pedagogic works. His
+"Scale Playing with particular reference to
+the development of the third, fourth, and
+fifth fingers of each hand;" his "Eight
+Measure," "Octave," and "Five Minute"
+studies, have brought the most unreserved
+commendation from the most important of
+our teachers. A late and most happy scheme
+has been the use of a set of variations
+for technical and interpretative instruction.
+For this purpose he wrote his "Th&egrave;mes
+Arabesques," of which numbers one and
+eighteen not only have emotional and artistic
+interest, but lie in the fingers in a strangely
+tickling way.<br /><br /></p>
+
+<div class="musicbox">
+<a name="ARABESQUE" id="ARABESQUE"></a>
+
+<p class="caption"><br />To Mr. Constantin Sternberg.</p>
+
+<h2><span class="smcap">Arabesque</span>.</h2>
+
+<p class="center">[<a href="music/arabesque.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>Wilson G. Smith, Op. 39.</b></span></p>
+
+<p class="center">
+<img src="images/arabesque01.png" width="700" height="866" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/arabesque02.png" width="700" height="949" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1889, by O. Ditson &amp; Co.</b></span><br /><br /></p>
+</div>
+
+<p><br />What might be called a professorial simplicity
+is seen in many of Smith's songs.
+ <span class="pagenum"><a name="Page_403" id="Page_403">403</a></span>
+The almost unadorned, strictly essential
+beauty of his melodies and accompaniments
+is neither neglect nor cheapness; it is restraint
+to the point of classicism, and romanticism
+all the intenser for repression. Take,
+for example, that perfect song, "If I but
+Knew," which would be one of a score of the
+world's best short songs, to my thinking.
+Note the open fifths, horrifying if you thump
+them academically, but very brave and
+straightforward, fitly touched.</p>
+
+<p>There is something of Haydn at his best
+in this and in the fluty "Shadow Song," in
+"The Kiss in the Rain," and "A Sailor's
+Lassie," for they are as crystalline and direct
+as "Papa's" own immortal "Sch&auml;ferlied."</p>
+
+<p>Smith has gone over to the great majority,&mdash;the
+composers who have set "Du bist
+wie eine Blume;" but he has joined those at
+the top. Two of Smith's songs have a quality
+of their own, an appeal that is bewitching:
+"Entreaty," a perfect melody, and "The<span class="pagenum"><a name="Page_406" id="Page_406">406</a></span>
+Dimple in Her Cheek," which is fairly peachy
+in color and flavor.</p>
+
+<p>A strange place in the world of music is
+that held by Johann H. Beck, whom some
+have not feared to call the greatest of American
+composers. Yet none of his music has
+ever been printed. In this he resembles B.
+J. Lang, of Boston, who keeps his work persistently
+in the dark, even the sacred oratorio
+he has written.</p>
+
+<p>All of Beck's works, except eight songs,
+are built on very large lines, and though
+they have enjoyed a not infrequent public
+performance, their dimensions would add
+panic to the usual timidity of publishers.
+Believing in the grand orchestra, with its
+complex possibilities, as the logical climax of
+music, Beck has devoted himself chiefly to it.
+He feels that the activity of the modern
+artist should lie in the line of "amplifying,
+illustrating, dissecting, and filling in the outlines
+left by the great creators of music and
+ <span class="pagenum"><a name="Page_407" id="Page_407">407</a></span>
+the drama." He foresees that the most complicated
+scores of to-day will be Haydnesque
+in simplicity to the beginning of the next
+century, and he is willing to elaborate his
+best and deepest learning as far as in him
+lies, and wait till the popular audience grows
+up to him, rather than write down to the
+level of the present appreciation.</p>
+
+<p>The resolve and the patient isolation of
+such a devotee is nothing short of heroic;
+but I doubt that the truest mission of the
+artist is to consider the future too closely.
+Even the dictionaries and encyclop&aelig;dias of
+one decade, are of small use to the next.
+The tiny lyrics of Herrick, though, have no
+quarrel with time, nor has time any grudge
+against the intimate figurines of Tanagra.
+The burdened trellises of Richard Strauss
+may feel the frost long before the slender ivy
+of Boccherini's minuet.</p>
+
+<p>Science falls speedily out of date, and
+philosophy is soon out of fashion. Art that<span class="pagenum"><a name="Page_410" id="Page_410">410</a></span>
+uses both, is neither. When it makes crutches
+of them and leans its whole weight on them,
+it will fall with them in the period of their
+inevitable decay.</p>
+
+<p>Of course, there is evolution here as well
+as in science. The artist must hunt out new
+forms of expressing his world-old emotions,
+or he will not impress his hearers, and there
+is no gainsaying Beck's thesis that the Chinese
+puzzle of to-day will be the antique simplicity
+of a later epoch. But it must never be forgotten,
+that art should be complex only to
+avoid the greater evils of inadequacy and
+triteness. A high simplicity of plan and an
+ultimate popularity of appeal are essentials to
+immortal art.</p>
+
+<p>It is my great misfortune never to have
+heard one of Beck's works performed, but,
+judging from a fragment of a deliciously
+dreamy moonlight scene from his unfinished
+music drama, "<a href="#SALAMMBO">Salammb&ocirc;</a>," which he kindly
+sent me, and from the enthusiasm of the
+ <span class="pagenum"><a name="Page_411" id="Page_411">411</a></span>
+severest critics, he must be granted a most
+unusual poetic gift, solidity and whimsicality,
+and a hardly excelled erudition. His orchestration
+shows a hand lavish with color and
+cunning in novel effects. Several of his
+works have been performed with great applause
+in Germany, where Beck spent many
+years in study. He was born at Cleveland,
+in 1856, and is a graduate of the Leipzig
+Conservatorium.<br /><br /></p>
+
+<div class="musicbox">
+<a name="SALAMMBO" id="SALAMMBO"></a>
+
+<p class="center"><br />
+<img src="images/salammbo01.png" width="700" height="902" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/salammbo02.png" width="700" height="971" alt="music continued" />
+</p>
+
+<p class="caption"><br />A FRAGMENT OF THE SCORE OF "SALAMMBÔ," BY JOHANN H. BECK.</p>
+
+<p class="center">[<a href="images/salammbo01-lg.png">Enlarge page 1</a>] [<a href="images/salammbo02-lg.png">Enlarge page 2</a>]<br /><br /></p>
+</div>
+
+<p><br />In art, quality is everything; quantity is
+only a secondary consideration. It is on
+account of the quality of his work that James
+H. Rogers must be placed among the very
+best of modern song-writers, though his published
+works are not many. When one considers
+his tuition, it is small wonder that his
+music should show the finish of long mastery.
+Born in 1857, at Fair Haven, Conn., he took
+up the study of the piano at the age of twelve,
+and at eighteen was in Berlin, studying there
+for more than two years with L&ouml;schorn,
+ <span class="pagenum"><a name="Page_412" id="Page_412">412</a></span>
+Rohde, Haupt, and Ehrlich, and then in Paris
+for two years under Guilmant, Fissot, and
+Widor. Since then he has been in Cleveland
+as organist, concert pianist, and teacher.</p>
+
+<p class="center"><br />
+<img src="images/rogersauto.png" width="600" height="404" alt="Autograph of James H. Rogers" />
+</p>
+
+<p><br />His songs are written usually in a characteristic
+form of dramatic, yet lyric recitative.
+His "Album of Five Songs" contains notable
+examples of this style, particularly the "Good-Night,"
+"Come to Me in My Dreams," and
+the supremely tragic climax of "Jealousy."
+The song, "Evening," with its bell-like accompaniment,
+is more purely lyric, like the
+ <span class="pagenum"><a name="Page_413" id="Page_413">413</a></span>
+enchanting "At Parting," which was too
+delicately and fragrantly perfect to escape
+the wide popularity it has had. His "Declaration"
+is ravishingly exquisite, and offers a
+strange contrast to the "Requiescat," which
+is a dirge of the utmost largeness and grandeur.
+His graceful "Fly, White Butterflies,"
+and "In Harbor," and the dramatic setting
+of "The Loreley," the jovial "Gather Ye
+Rosebuds" of jaunty Rob Herrick, the foppish
+tragedy of "La Vie est Vaine" (in
+which the composer's French prosody is a
+whit askew), that gallant, sweet song, "My
+True Love Hath My Heart," and a gracious
+setting of Heine's flower-song, are all noteworthy
+lyrics. He has set some of Tolsto&iuml;'s
+words to music, the sinister love of "Doubt
+Not, O Friend," and the hurry and glow of
+"The First Spring Days," making unusually
+powerful songs. In the "Look Off, Dear
+Love," he did not catch up with Lanier's
+great lyric, but he handled his material most
+ <span class="pagenum"><a name="Page_414" id="Page_414">414</a></span>
+effectively in Aldrich' "Song from the Persian,"
+with its Oriental wail followed by a
+martial joy. The high verve that marks his
+work lifts his "Sing, O Heavens," out of the
+rut of Christmas anthems.</p>
+
+<p>Of instrumental work, there is only one
+small book, "Sc&egrave;nes du Bal," a series of nine
+pieces with lyric characterization in the spirit,
+but not the manner of Schumann's "Carn&eacute;val."
+The most striking numbers are "Les
+Bavardes," "Blonde et Brune," and a fire-eating
+polonaise.</p>
+
+<p>These close the lamentably small number
+of manifestations of a most decisive ability.</p>
+
+<p>Another Cleveland composer well spoken
+of is Charles Sommer.</p>
+
+<p>A young woman of genuine ability, who
+has been too busy with teaching and concert
+pianism to find as much leisure as she
+deserves for composition, is Patty Stair, a
+prominent musical figure in Cleveland. Her
+theoretical studies were received entirely at
+ <span class="pagenum"><a name="Page_415" id="Page_415">415</a></span>
+Cleveland, under F. Bassett. Her published
+works include a book of "Six Songs," all of
+them interesting and artistic, and the "Madrigal"
+particularly ingenious; and a comic glee
+of the most irresistible humor, called "An
+Interrupted Serenade;" in manuscript are a
+most original song, "Flirtation," a jovial
+part song for male voices, "Jenny Kissed
+Me," a berceuse for violin and piano, a
+graceful song, "Were I a Brook," a setting
+of Thomas Campion's "Petition," and
+another deeply stirring religious song for
+contralto, "O Lamb of God."</p>
+
+
+<h3><br /><i>The St. Louis Colony.</i></h3>
+
+<p>The most original and important contribution
+to American music that St. Louis has
+made, is, to my mind, the book of songs
+written by William Schuyler. The words
+were chosen from Stephen Crane's book of
+poems, "<a href="#BLACK_RIDERS">The Black Riders</a>." The genius
+of Crane, concomitant with eccentricity as<span class="pagenum"><a name="Page_418" id="Page_418">418</a></span>
+it was, is one of the most distinctive among
+American writers. The book called "The
+Black Riders" contains a number of moods
+that are unique in their suggestiveness and
+originality. Being without rime or meter,
+the lines oppose almost as many difficulties
+to a musician as the works of Walt Whitman;
+and yet, as Alfred Bruneau has set
+Zola's prose to music, so some brave American
+composer will find inspiration abundant
+in the works of Walt Whitman and Emily
+Dickinson.<br /><br /></p>
+
+<div class="musicbox">
+<a name="BLACK_RIDERS" id="BLACK_RIDERS"></a>
+
+<h2><br/>III.</h2>
+
+<p class="center">[<a href="music/blackriders.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b><i>WILLIAM SCHUYLER.</i></b></span></p>
+
+<p class="center">
+<img src="images/blackriders01.png" width="700" height="869" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/blackriders02.png" width="700" height="926" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Words used by permission of Copeland and Day.</b></span></p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1897, by Wm. Schuyler.</b></span></p>
+
+<p class="cpoem"><br />
+There was, before me,<br />
+Mile upon mile of snow, ice, burning sand.<br />
+And yet I could look beyond all this,<br />
+To a place of infinite beauty;<br />
+And I could see the loveliness of her<br />
+Who walked in the shade of the trees.<br />
+When I gazed,<br />
+All was lost<br />
+But this place of beauty and her<br />
+When I gazed,<br />
+And in my gazing, desired<br />
+Then came again<br />
+Mile upon mile,<br />
+Of snow, ice, burning sand, burning sand.
+</p>
+
+<p class="caption"><br />FROM WM. SCHUYLER'S "BLACK RIDERS."<br /><br /></p>
+</div>
+
+<p><br />Schuyler was born in St. Louis, May 4,
+1855, and music has been his livelihood.
+He is largely self-taught, and has composed
+some fifty pieces for the piano, a hundred and
+fifty songs, a few works for violin, viola, and
+'cello, and two short trios.</p>
+
+<p>In his setting of these lines of Crane's,
+Schuyler has attacked a difficult problem in
+an ideal manner. To three of the short
+poems he has given a sense of epic vasti<span class="pagenum"><a name="Page_419" id="Page_419">419</a></span>tude,
+ and to two of them he has given a
+tantalizing mysticism. The songs, which have
+been published privately, should be reproduced
+for the wide circulation they deserve.</p>
+
+<p>Another writer of small songs displaying
+unusual individuality is George Clifford Vieh,
+who was born in St. Louis and studied there
+under Victor Ehling. In 1889, he went to
+Vienna for three years, studying under
+Bruckner, Robert Fuchs, and Dachs. He
+graduated with the silver medal there, and
+returned to St. Louis, where he has since
+lived as a teacher and pianist.</p>
+
+<p>Alfred George Robyn is the most popular
+composer St. Louis has developed. He was
+born in 1860, his father being William
+Robyn, who organized the first symphonic
+orchestra west of Pittsburg. Robyn was a
+youthful prodigy as a pianist; and, at the
+age of ten, he succeeded his father as organist
+at St. John's Church, then equipped with
+the best choir in the city. It was necessary
+ <span class="pagenum"><a name="Page_420" id="Page_420">420</a></span>
+for the pedals of the organ to be raised to his
+feet. At the age of sixteen he became solo
+pianist with Emma Abbott's company. As
+a composer Robyn has written some three
+hundred compositions, some of them reaching
+a tremendous sale. A few of them have been
+serious and worth while, notably a piano concerto,
+a quintette, four string quartettes, a
+mass, and several orchestral suites.</p>
+
+<p>There are not many American composers
+that have had a fugue published, or have
+written fugues that deserve publication. It
+is the distinction of Ernest Richard Kroeger
+that he has written one that deserved, and
+secured, publication. This was his 41st
+opus. It is preceded by a prelude which,
+curiously enough, is thoroughly Cuban in
+spirit and is a downright Habanera, though
+not so announced. This fiery composition is
+followed by a four-voiced "real" fugue. The
+subject is genuinely interesting, though the
+counter-subject is as perfunctory as most
+ <span class="pagenum"><a name="Page_421" id="Page_421">421</a></span>
+counter-subjects. The middle-section, the
+stretto-work, and the powerful ending, give
+the fugue the right to exist.</p>
+
+<p>Among other publications are a suite for
+piano (op. 33), in which a scherzo has life,
+and a sonata for violin and piano, in which,
+curiously enough, the violin has not one instance
+of double-stopping, and the elaborating
+begins, not with the first subject taken vigorously,
+but with the second subject sung out
+softly. The last movement is the best, a
+quaint and lively rondo. A set of twelve
+concert &eacute;tudes show the influence of Chopin
+upon a composer who writes with a strong
+German accent. The &eacute;tude called "Castor
+and Pollux" is a vigorous number with the
+chords of the left hand exactly doubled in
+the right; another &eacute;tude, "A Romanze," is
+noteworthy for the practice it gives in a point
+which is too much ignored even by the best
+pianists; that is, the distinction between the
+importance of the tones of the same chord<span class="pagenum"><a name="Page_422" id="Page_422">422</a></span>
+struck by the same hand. A work of broad
+scholarship, which shows the combined influence
+of Beethoven and Chopin, who have
+chiefly affected Kroeger, is his sonata (op.
+40). A dominant pedal-point of fifty-eight
+measures, in the last movement, is worth
+mentioning. In a "Danse N&eacute;gre" and a
+"Caprice N&eacute;gre," he has evidently gone, for
+his Ethiopian color, not to the actual negro
+music, but to the similar compositions of
+Gottschalk. Kroeger was born in St. Louis,
+August 10, 1862. At the age of five he
+took up the study of the piano and violin.
+His theoretical tuition was all had in this
+country. He has written many songs, a
+piano concerto, sonatas for piano and viola,
+and piano and 'cello, two trios, a quintette,
+and three string quartettes, as well as a
+symphony, a suite, and overtures based on
+"Endymion," "Thanatopsis," "Sardanapalus"
+(produced by Anton Seidl, in New York),
+"Hiawatha," and "Atala."
+</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_423" id="Page_423">423</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+<h3>THE WOMEN COMPOSERS.</h3>
+
+
+<p><br /><span class="smcap">This</span> is not the place to take up cudgels
+for a contest on the problem of woman's
+right to respect in the creative arts. There
+are some, it is true, who deny fervently that
+the feminine half of mankind ever has or
+can or ever will do original and important
+work there. If you press them too hard
+they will take refuge up this tree, that all
+women who ever have had success have been
+actually mannish of mind,&mdash;a dodge in
+question-begging that is one of the most
+ingenious ever devised; a piece of masculine
+logic that puts to shame all historic examples
+of womanly fallacy and sophistry. It seems
+ <span class="pagenum"><a name="Page_424" id="Page_424">424</a></span>
+to me that the question is easily settled on
+this wise: it is impossible for a rational mind
+to deny that the best work done in the arts
+by women is of better quality than the
+average work done by men. This lets the
+cat's head out of the bag, and her whole body
+follows pell-mell.</p>
+
+<p>In a few instances it seems to me that the
+best things done by women equal the best
+things done by men in those lines. The
+best verses of Sappho, the best sonnets of
+Mrs. Browning, the best chapters of George
+Eliot, the best animal paintings of Rosa
+Bonheur, do not seem to me surpassed by
+their rivals in masculine work. If anything
+in verse of its sort is nobler than Mrs. Howe's
+"Battle Hymn of the Republic," it is still in
+manuscript. If there is any poet of more
+complete individuality than Emily Dickinson,
+I have not run across his books. In music
+I place two or three of Miss Lang's small
+songs among the chief of their manner.
+<span class="pagenum"><a name="Page_425" id="Page_425">425</a></span></p>
+
+<p>All over the world the woman-mind is
+taking up music. The ban that led Fanny
+Mendelssohn to publish her music under her
+brother's name, has gone where the puritanic
+theory of the disgracefulness of the musical
+profession now twineth its choking coils. A
+publisher informs me that where compositions
+by women were only one-tenth of his manuscripts
+a few years ago, they now form more
+than two-thirds. From such activity, much
+that is worth while is bound to spring. Art
+knows no sex, and even what the women
+write in man-tone is often surprisingly strong,
+though it is wrongly aimed. But this effort
+is like the bombast of a young people or a
+juvenile literature; the directness and repose
+of fidelity to nature come later. The American
+woman is in the habit of getting what
+she sets her heart on. She has determined
+to write music.</p>
+
+<p>With an ardor that was ominous of success,
+Miss Amy Marcy Cheney, after a short<span class="pagenum"><a name="Page_426" id="Page_426">426</a></span>
+preliminary course in harmony, resolved to
+finish her tuition independently. As an
+example of the thoroughness that has given
+her such unimpeachable knowledge of her
+subject, may be mentioned the fact that she
+made her own translation of Berlioz and
+Gava&euml;rt. She was born in New Hampshire,
+of descent American back to colonial times.
+At the age of four she wrote her opus 1.
+She is a concert pianist as well as a frequent
+composer in the largest forms. She is now
+Mrs. H.H.A. Beach.</p>
+
+<p class="border" style="text-align: center"><br />
+<a name="MRS_H_H_A_BEACH" id="MRS_H_H_A_BEACH"></a>
+<img src="images/beach.png" width="277" height="400" alt="" />
+</p>
+
+<p class="caption">MRS. H.H.A. BEACH.</p>
+
+<p><br />Not many living men can point to a composition
+of more maturity and more dignity
+than Mrs. Beach' "Jubilate," for the dedication
+of the Woman's Building at the Columbian
+Exposition. The work is as big as its
+name; it is the best possible answer to skeptics
+of woman's musical ability. It may be too
+sustainedly loud, and the infrequent and short
+passages piano are rather breathing-spells
+than contrasting awe, but frequently this work
+ <span class="pagenum"><a name="Page_427" id="Page_427">427</a></span>
+shows a very magnificence of power and
+exaltation. And the ending is simply superb,
+though I could wish that some of the terrific
+dissonances in the accompaniment had been
+put into the unisonal voices to widen the
+effect and strengthen the final grandeur. But
+as it is, it rings like a clarion of triumph,&mdash;the
+cry of a Balboa discovering a new sea of
+opportunity and emotion.</p>
+
+<p>Another work of force and daring is the
+mass in E flat (op. 5), for organ and small
+orchestra. It is conventionally ecclesiastic
+as a rule, and suffers from Mrs. Beach' besetting
+sin of over-elaboration, but it proclaims
+a great ripeness of technic. The "Qui
+Tollis" is especially perfect in its sombre
+depth and richness. The "Credo" works
+up the cry of "crucifixus" with a thrilling
+rage of grief and a dramatic feeling rare in
+Mrs. Beach' work. This work was begun at
+the age of nineteen and finished three years
+later. It was given with notable effect in
+ <span class="pagenum"><a name="Page_428" id="Page_428">428</a></span>
+1892 by the Handel and Haydn Society of
+Boston.</p>
+
+<p>Mrs. Beach' "Valse Caprice" has just
+one motive,&mdash;to reach the maximum of technical
+trickiness and difficulty. There is such
+a thing as hiding one's light under a bushel,
+and there is such a thing as emptying a bushel
+of chaff upon it.</p>
+
+<p>"Fireflies" is a shimmering and flitting
+caprice of much ingenuity, but it keeps in the
+field of dissonance almost interminably, and
+clear harmony is not so much the homing-place
+of its dissonance, as an infrequent glint
+through an inadvertent chink. This neat
+composition is one of four "Sketches for
+the Piano," of which "<a href="#PHANTOMS">Phantoms</a>" is delightful
+with ghostliness. "In Autumn" is a most
+excellent tone-poem, and "Dreaming" is a
+well-varied lyric. As a colorist Mrs. Beach
+is most original and studious. Her tireless
+hunt for new tints often diverts her indeed
+from the direct forthright of her meaning,<span class="pagenum"><a name="Page_430" id="Page_430">430</a></span>
+but the "Danse des Fleurs" is rich in its
+gorgeousness. The flowing grace of the
+"Menuet Italien" makes it an uncharacteristic
+but charming work.<br /><br /></p>
+
+<div class="musicbox">
+<a name="PHANTOMS" id="PHANTOMS"></a>
+
+<h2><br />PHANTOMS.</h2>
+
+<p class="center"><b>"Toute fragiles fleurs, sitôt mortes que nées."<br />
+Victor Hugo.</b></p>
+
+<p class="center">[<a href="music/phantoms.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>Mrs. H.H.A. Beach.</b></span></p>
+
+<p class="center">
+<img src="images/phantoms.png" width="700" height="892" alt="music" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1892, by Arthur P. Schmidt.</b></span></p>
+
+<p class="caption"><br />A FRAGMENT.<br /><br /></p>
+</div>
+
+<p><br />Horace, you know, promises to write so
+that any one will think him easy to equal,
+though much sweat will be shed in the effort.
+It is the transparency of her studiousness,
+and the conspicuous labor in polishing off
+effects and mining opportunity to the core,
+that chiefly mars the work of Mrs. Beach, in
+my opinion. One or two of the little pieces
+that make up the half-dozen of the "Children's
+Carnival" are among her best work,
+for the very cheery ease of their look. "Pantalon,"
+"Harlequin," "Columbine," and "Secrets"
+are infinitely better art than a dozen
+valse-caprices.</p>
+
+<p>Both the defects and effects of her qualities
+haunt Mrs. Beach' songs. When she is
+sparing in her erudition she is delightful.
+Fourteen of her songs are gathered into a
+ <span class="pagenum"><a name="Page_431" id="Page_431">431</a></span>
+"Cyclus." The first is an "Ariette," with
+an accompaniment imitating the guitar. It
+is both tender and graceful. Probably her
+best song is the setting of W.E. Henley's
+fine poem, "Dark is the Night." It is of
+the "Erl-King" style, but highly original
+and tremendously fierce and eerie. The same
+poet's "Western Wind" is given a setting
+contrastingly dainty and serene. "The Blackbird"
+is delicious and quite unhackneyed.
+"A Secret" is bizarre, and "Empress of the
+Night" is brilliant. With the exception of a
+certain excess of dissonance for a love-song,
+"Wilt Thou Be My Dearie?" is perfect with
+amorous tenderness. "Just for This!" is a
+delightful vocal scherzo of complete originality
+and entire success. "A Song of Love" is
+passionate and yet lyric, ornamented but not
+fettered. "Across the World" has been one
+of Mrs. Beach' most popular songs; it is
+intense and singable. "My Star" is tender,
+and the accompaniment is richly worked out
+ <span class="pagenum"><a name="Page_432" id="Page_432">432</a></span>
+on simple lines. Three Vocal Duets are well-handled,
+but the long "Eilende Wolken" has
+a jerky recitative of H&auml;ndelian <i>na&iuml;vet&eacute;</i>, to
+which the aria is a welcome relief. Her
+sonata for piano and violin has been played
+here by Mr. Kneisel, and in Berlin by Mme.
+Carre&ntilde;o and Carl Halir.</p>
+
+<p>Besides these, Mrs. Beach has done not a
+little for the orchestra. Her "Gaelic Symphony"
+is her largest work, and it has been
+often played by the Boston Symphony, the
+Thomas, and other orchestras. It is characterized
+by all her exuberant scholarship
+and unwearying energy.<br /><br /></p>
+
+<p class="border" style="text-align: center"><br />
+<a name="MARGARET_RUTHVEN_LANG" id="MARGARET_RUTHVEN_LANG"></a>
+<img src="images/lang.png" width="272" height="400" alt="" />
+</p>
+
+<p class="caption">MARGARET RUTHVEN LANG.</p>
+
+<p><br />Margaret Ruthven Lang, the daughter of
+B.J. Lang, is American by birth and training.
+She was born in Boston, November 27,
+1867. She has written large works, such as
+three concert overtures, two of which have
+been performed by the Thomas and the Boston
+Symphony Orchestras, though none of
+them are published. Other unpublished <span class="pagenum"><a name="Page_433" id="Page_433">433</a></span>
+works are a cantata, two arias with orchestral
+accompaniment, and a rhapsody for the
+piano. One rhapsody has been published, that
+in E minor; in spite of its good details, it is
+curiously unsatisfying,&mdash;it seems all prelude,
+interlude, and postlude, with the actual rhapsody
+accidentally overlooked. A "Meditation"
+is bleak, with a strong, free use of dissonance.</p>
+
+<p>"The Jumblies" is a setting of Edward
+Lear's elusive nonsense, as full of the flavor
+of subtile humor as its original. It is for
+male chorus, with an accompaniment for two
+pianos, well individualized and erudite. It
+is in her solo songs, however, that her best
+success is reaped.</p>
+
+<p>When I say that Mrs. Beach' work is
+markedly virile, I do not mean it as compliment
+unalloyed; when I find Miss Lang's
+work supremely womanly, I would not deny it
+great strength, any more than I would deny
+that quality to the sex of which Joan of Arc
+and Jael were not uncharacteristic members.
+<span class="pagenum"><a name="Page_434" id="Page_434">434</a></span></p>
+
+<p>Such a work as the "Maiden and the
+Butterfly" is as fragile and rich as a butterfly's
+wing. "My Lady Jacqueminot" is
+exquisitely, delicately passionate. "Eros"
+is frail, rare, ecstatic. "<a href="#GHOSTS">Ghosts</a>" is elfin and
+dainty as snowflakes. The "Spinning Song"
+is inexpressibly sad, and such music as
+women best understand, and therefore ought
+to make best. But womanliness equally marks
+"The Grief of Love," which is in every sense
+big in quality; marks the bitterness of "Oh,
+What Comes over the Sea," the wailing Gaelic
+sweetness of the "Irish Love Song," and the
+fiery passion of "Betrayed," highly dramatic
+until its rather trite ending. "Nameless
+Pain" is superb. Her "Lament" I consider
+one of the greatest of songs, and proof
+positive of woman's high capabilities for composition.
+Miss Lang has a harmonic individuality,
+too, and finds out new effects that are
+strange without strain.</p>
+
+<p>"My Turtle Dove," among the "Five
+ <span class="pagenum"><a name="Page_435" id="Page_435">435</a></span>
+Norman Songs," in fearlessness and harmonic
+exploration shows two of the strongest
+of Miss Lang's traits. Her <i>r&eacute;cherch&eacute;s</i>
+harmonies are no pale lunar reflection of
+masculine work. Better yet, they have the
+appearance of spontaneous ease, and the
+elaborateness never obtrudes itself upon
+the coherence of the work, except in a few
+such rare cases as "My Native Land,"
+"Christmas Lullaby," and "Before My
+Lady's Window." They are singable to a
+degree unusual in scholarly compositions.
+To perfect the result Miss Lang chooses her
+poems with taste all too rare among musicians,
+who seem usually to rate gush as
+feeling and gilt as gold. Her "Oriental
+Serenade" is an example of weird and original
+intervals, and "A Spring Song," by
+Charlotte Pendleton, a proof of her taste in
+choosing words.<br /><br /></p>
+
+<div class="musicbox">
+<a name="GHOSTS" id="GHOSTS"></a>
+
+<h2><br />GHOSTS.</h2>
+
+<h4>Words by Munkittrick.</h4>
+
+<p class="center">[<a href="music/ghosts.midi">Listen</a>]</p>
+
+<p class="right"><span style="margin-right: 3em;"><b>MARGARET RUTHVEN LANG.</b></span></p>
+
+<p class="center">
+<img src="images/ghosts01.png" width="700" height="804" alt="music" />
+</p>
+
+<p class="center">
+<img src="images/ghosts02.png" width="700" height="961" alt="music continued" />
+</p>
+
+<p><span style="margin-left: 3em;"><b>Copyright, 1889, by Arthur P. Schmidt &amp; Co.</b></span></p>
+
+<p class="cpoeml"><br />
+Out in the misty moonlight, the first snow flakes I see,<br />
+As they frolic among the leafless boughs of the apple tree.<br />
+Faintly they seem to whisper, as round the boughs they wing;<br />
+"We are the ghosts of the flowers who died in the early spring,<br />
+Who died in the early spring."<br /><br />
+</p>
+</div>
+
+<p><br />Her opus 32 is made up of two songs, both
+full of fire and originality. Opus 33 is a<span class="pagenum"><a name="Page_438" id="Page_438">438</a></span>
+captivating "Spring Idyl" for the piano, for
+which she has also written a "Revery," of
+which the exquisiteness of sleep is the theme.
+The music is delicious, and the ending is a
+rare proof of the beautiful possibilities of
+dissonance.</p>
+
+<p>Personally, I see in Miss Lang's compositions
+such a depth of psychology that I place
+the general quality of her work above that of
+any other woman composer. It is devoid
+of meretriciousness and of any suspicion of
+seeking after virility; it is so sincere, so true
+to the underlying thought, that it seems to
+me to have an unusual chance of interesting
+attention and stirring emotions increasingly
+with the years.</p>
+
+<p>An interesting and genuine individuality
+will transpire through the most limited
+amount of creative art. This has been the
+case with the few published works of a
+writer, whose compositions, though unpretentious
+in size and sentiment, yet reveal a
+ <span class="pagenum"><a name="Page_439" id="Page_439">439</a></span>
+graceful fancy, and a marked contemplation
+upon the details of the moods.</p>
+
+<p>Irene Baumgras was born at Syracuse,
+New York, and studied the piano at the Cincinnati
+Conservatory of Music, where she
+took the Springer gold medal in 1881. She
+studied in Berlin with Moszkowski and Oscar
+Raif. She was married in Berlin, in 1884,
+to Philip Hale, the distinguished Boston
+musical critic.</p>
+
+<p>Her devotion to her art was so great that
+her health broke down from overwork, and
+she was compelled to give up piano playing.
+Some of her compositions have been published
+under the name of "Victor Ren&eacute;."
+Her 15th opus is made up of three "Morceaux
+de Genre," of which the "Pantomime" is a
+most volatile harlequinade, with moods as
+changeful as the key; a remarkably interesting
+composition. Four "Pens&eacute;es Po&eacute;tiques"
+make up opus 16. They include a blithe
+"Chansonette" and a "Valse Impromptu,"
+ <span class="pagenum"><a name="Page_440" id="Page_440">440</a></span>
+which, unlike the usual impromptu, has the
+<i>ex tempore</i> spirit. Of her songs, "Mystery"
+is a charming lyric; "Maisie" is faithful to
+the ghoulish merriment of the words; and
+"An Opal Heart" is striking for interesting
+dissonances that do not mar the fluency of
+the lyric.</p>
+
+<p>Of much refinement are the fluent lyrics
+of Mrs. Mary Knight Wood. They show a
+breadth in little, and a fondness for unexpected
+harmonies that do not disturb the
+coherence of her songs. They possess also
+a marked spontaneity. An unexpected effect
+is gained by the brave E flat in her
+"Serenade." Her popular "Ashes of Roses"
+also has a rich harmonic structure. Among
+other songs, one with an effective obbligato
+for the violoncello deserves special praise.
+She has written also for the violin and piano,
+and trios for 'cello, violin, and piano.</p>
+
+<p>Other women who have written certain
+works of serious intention and worthy art, are
+ <span class="pagenum"><a name="Page_441" id="Page_441">441</a></span>
+Mrs. Clara A. Korn, Laura Sedgwick Collins,
+the composer of an ingenious male quartette,
+"Love is a Sickness," and many excellent
+songs, among them, "Be Like That Bird,"
+which is ideally graceful; Fanny M. Spencer,
+who has written a collection of thirty-two
+original hymn tunes, a good anthem, and a
+Magnificat and Nunc Dimittis of real strength;
+Julie Riv&eacute;-King, the author of many concert
+pieces; Patty Stair, of Cleveland; Harriet P.
+Sawyer, Mrs. Jessie L. Gaynor, Constance
+Maud, Jenny Prince Black, Charlotte M.
+Crane, and Helen Hood.</p>
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_442" id="Page_442">442</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+
+<h3>THE FOREIGN COMPOSERS.</h3>
+
+
+<p><br /><span class="smcap">Ours</span> is so young, and so cosmopolite, a
+country, that our art shows the same brevity
+of lineage as our society. Immigration has
+played a large part in the musical life of the
+United States, as it has in the make-up of
+the population; and yet for all the multiplexity
+of his ancestry, the American citizen
+has been assimilated into a distinctive individuality
+that has all the traits of his different
+forbears, and is yet not closely like any of
+them. So, American music, taking its scale
+and most of its forms from the old country,
+is yet developing an integrity that the future
+will make much of. As with the federation
+ <span class="pagenum"><a name="Page_443" id="Page_443">443</a></span>
+of the States, so will one great music ascend
+polyphonically,&mdash;<i>e pluribus unum</i>.</p>
+
+<p>In compiling this directory of American
+composers, it has been necessary to discuss
+the works only of the composers who were
+born in this country. It is interesting to see
+how few of these names are un-American,
+how few of them are Germanic (though so
+many of them have studied in Germany).
+Comment has often been made upon the
+Teutonic nature of the make-up of our
+orchestras. It is pleasant to find that a
+very respectable list of composers can be
+made up without a preponderance of German
+names.</p>
+
+<p>The music life of our country, however,
+has been so strongly influenced and enlivened
+and corrected by the presence of
+men who were born abroad that some recognition
+of their importance should somewhere
+be found. Many of them have become
+naturalized and have brought with them so
+ <span class="pagenum"><a name="Page_444" id="Page_444">444</a></span>much enthusiasm for our institutions that
+they are actually more American than many
+of the Americans; than those, particularly,
+who, having had a little study abroad, have
+gone quite mad upon the superstition of "atmosphere,"
+and have brought home nothing
+but foreign mannerisms and discontent.</p>
+
+<p>Among the foreign born who have made
+their home in America, I must mention with
+respect, and without attempting to suggest
+order of precedence, the following
+names:</p>
+
+<p>C.M. Loeffler, Bruno Oscar Klein, Leopold
+Godowski, Victor Herbert, Walter Damrosch,
+Julius Eichberg, Dr. Hugh A. Clarke,
+Louis V. Saar, Asgar Hamerik, Otto Singer,
+August Hyllested, Xavier Scharwenka, Rafael
+Joseffy, Constantin von Sternberg,
+Adolph Koelling, August Spanuth, Aim&eacute;
+Lachaume, Max Vogrich, W.C. Seeboeck,
+Julian Edwards, Robert Coverley, William
+Furst, Gustave Kerker, Henry Waller,
+ <span class="pagenum"><a name="Page_445" id="Page_445">445</a></span>
+P.A. Schnecker, Clement R. Gale, Edmund
+Severn, Platon Brounoff, Richard Burmeister,
+Augusto Rotoli, Emil Liebling, Carl Busch,
+John Orth, Ernst Perabo, Ferdinand Dunkley,
+Mrs. Clara Kathleen Rogers, Miss Adele
+Lewing, Mrs. Elisa Mazzucato Young.</p>
+
+<p>It is perhaps quibbling to rule out some of
+these names from Americanism, and include
+certain of those whom I have counted American
+because they were born here, in spite of
+the fact that their whole tuition and tendency
+is alien. But the line must be drawn somewhere.
+The problem is still more trying in the
+case of certain composers who, having been
+born here, have expatriated themselves, and
+joined that small colony of notables whom
+America has given to Europe as a first instalment
+in payment of the numerous loans we
+have borrowed from the old country.</p>
+
+<p>For the sake of formally acknowledging this
+debt, I will not endeavor to discuss here the
+careers of George Templeton Strong, Arthur
+ <span class="pagenum"><a name="Page_446" id="Page_446">446</a></span>
+Bird, or O.B. Boise, all three of whom were
+born in this country, but have elected to live
+in Berlin. Their distinction in that city at
+least palely reflects some credit upon the
+country that gave them birth.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_447" id="Page_447">447</a></span></p>
+<h2><a name="POSTLUDE" id="POSTLUDE"></a>POSTLUDE.</h2>
+
+
+<p><br /><span class="smcap">In</span> the ninth century Iceland was the musical
+center of the world; students went there
+from all Europe as to an artistic Mecca. Iceland
+has long lost her musical crown. And
+Welsh music in its turn has ceased to be the
+chief on earth. Russia is sending up a strong
+and growing harmony marred with much discord.
+Some visionaries look to her for the
+new song. But I do not hesitate to match
+against the serfs of the steppes the high-hearted,
+electric-minded free people of our
+prairies; and to prophesy that in the coming
+century the musical supremacy and inspiration
+of the world will rest here overseas, in
+America.</p>
+
+<p class="caption"><br />THE END.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_449" id="Page_449">449</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2>
+
+<p class="notes"><i>Transcriber's Note:</i> Misspellings in the original Index have been
+corrected, and the entries have been placed in the proper order.</p>
+
+
+<p><br />
+Abt Society, <a href="#Page_198">198</a>.<br />
+<br />
+Academy of Dramatic Arts, <a href="#Page_79">79</a>.<br />
+<br />
+&AElig;schylean Chorus, <a href="#Page_53">53</a>.<br />
+<br />
+Agramonte, Emilio, <a href="#Page_41">41</a>.<br />
+<br />
+Aldrich, Anna Reeve, <a href="#Page_313">313</a>.<br />
+<br />
+Aldrich, T.B., <a href="#Page_89">89</a>, <a href="#Page_108">108</a>, <a href="#Page_204">204</a>.<br />
+<br />
+Allen, C.N., <a href="#Page_244">244</a>.<br />
+<br />
+Allen, N.H., <a href="#Page_273">273</a>.<br />
+<br />
+Allen, P.C., <a href="#Page_272">272</a>.<br />
+<br />
+Allison, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Ambrosius, Johanna, <a href="#Page_349">349</a>.<br />
+<br />
+Americanism in Music, <a href="#Page_12">12</a>, <a href="#Page_33">33</a>, <a href="#Page_58">58</a>.<br />
+<br />
+Apollo Club, <a href="#Page_168">168</a>, <a href="#Page_236">236</a>, <a href="#Page_331">331</a>.<br />
+<br />
+Apthorp, W.F., <a href="#Page_370">370</a>.<br />
+<br />
+Arion Society, <a href="#Page_190">190</a>.<br />
+<br />
+Arnold, Maurice, <a href="#Page_135">135</a>, <a href="#Page_139">139</a>.<br />
+<br />
+Arnold, Sir Edwin, <a href="#Page_171">171</a>.<br />
+<br />
+Aus der Ohe, Ad&egrave;le, <a href="#Page_293">293</a>.<br />
+<br />
+<br />
+Bach, J.S., <a href="#Page_15">15</a>, <a href="#Page_225">225</a>, <a href="#Page_227">227</a>, <a href="#Page_248">248</a>, <a href="#Page_399">399</a>, <a href="#Page_400">400</a>.<br />
+<br />
+Baltzell, Willard J., <a href="#Page_275">275</a>.<br />
+<br />
+Bartlett, H.N., <a href="#Page_317">317</a>, <a href="#Page_327">327</a>.<br />
+<br />
+Bassett, F., <a href="#Page_415">415</a>.<br />
+<br />
+Bates, Arlo, <a href="#Page_187">187</a>, <a href="#Page_368">368</a>.<br />
+<br />
+Baumgras, Irene, <a href="#Page_439">439</a>.<br />
+<br />
+Beach, Mrs. H.H.A., <a href="#Page_426">426</a>, <a href="#Page_432">432</a>, <a href="#Page_433">433</a>.<br />
+<br />
+Beck, Johann H., <a href="#Page_406">406</a>, <a href="#Page_411">411</a>.<br />
+<br />
+Beethoven, <a href="#Page_12">12</a>, <a href="#Page_52">52</a>, <a href="#Page_56">56</a>, <a href="#Page_100">100</a>, <a href="#Page_116">116</a>, <a href="#Page_148">148</a>, <a href="#Page_163">163</a>, <a href="#Page_178">178</a>, <a href="#Page_208">208</a>, <a href="#Page_306">306</a>.<br />
+<br />
+Bendel, <a href="#Page_237">237</a>.<br />
+<br />
+"Ben Hur," <a href="#Page_72">72</a>.<br />
+<br />
+Benkert, G.F., <a href="#Page_119">119</a>.<br />
+<br />
+Bennett, Sterndale, <a href="#Page_257">257</a>.<br />
+<br />
+Berlioz, <a href="#On">144</a>, <a href="#Page_219">219</a>, <a href="#Page_243">243</a>, <a href="#Page_307">307</a>, <a href="#Page_426">426</a>.<br />
+<br />
+Bernard of Cluny's, <a href="#Page_183">183</a>.<br />
+<br />
+Best, W.T., <a href="#Page_361">361</a>.<br />
+<br />
+Bird, Arthur, <a href="#Page_446">446</a>.<br />
+<br />
+Black, Jennie Prince, <a href="#Page_441">441</a>.<br />
+<br />
+"Blind Tom," <a href="#Page_59">59</a>.<br />
+<br />
+Boccherini, <a href="#Page_407">407</a>.<br />
+<br />
+Bodenstedt, <a href="#Page_364">364</a>.<br />
+<br />
+Boise, O.B., <a href="#Page_292">292</a>, <a href="#Page_299">299</a>, <a href="#Page_388">388</a>, <a href="#Page_446">446</a>.<br />
+<br />
+Boston Colony, <a href="#Page_269">269</a>, <a href="#Page_350">350</a>, <a href="#Page_371">371</a>.<br />
+<br />
+Boston Symphony Orchestra, <a href="#Page_18">18</a>, <a href="#Page_219">219</a>, <a href="#Page_233">233</a>, <a href="#Page_269">269</a>, <a href="#Page_281">281</a>, <a href="#Page_282">282</a>, <a href="#Page_286">286</a>, <a href="#Page_292">292</a>, <a href="#Page_432">432</a>.<br />
+</p>
+<p><span class="pagenum"><a name="Page_450" id="Page_450">450</a></span>
+Bourdillon's, <a href="#Page_109">109</a>, <a href="#Page_312">312</a>.<br />
+<br />
+Brahms, <a href="#Page_56">56</a>, <a href="#Page_97">97</a>, <a href="#Page_114">114</a>, <a href="#Page_255">255</a>, <a href="#Page_284">284</a>.<br />
+<br />
+Breton, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Brewer, J.H., <a href="#Page_331">331</a>, <a href="#Page_334">334</a>.<br />
+<br />
+Bristow, George F., <a href="#Page_246">246</a>.<br />
+<br />
+Brockway, Howard, <a href="#Page_298">298</a>, <a href="#Page_304">304</a>.<br />
+<br />
+Brounoff, Platon, <a href="#Page_445">445</a>.<br />
+<br />
+Browning, E.B., <a href="#Page_424">424</a>.<br />
+<br />
+Browning, Robt., <a href="#Page_89">89</a>, <a href="#Page_99">99</a>.<br />
+<br />
+Bruce, Edwin, <a href="#Page_388">388</a>.<br />
+<br />
+Bruch, Max, <a href="#Page_136">136</a>.<br />
+<br />
+Bruckner, <a href="#Page_419">419</a>.<br />
+<br />
+Bruneau, Alfred, <a href="#Page_418">418</a>.<br />
+<br />
+Buck, Dudley, <a href="#Page_165">165</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_305">305</a>, <a href="#Page_324">324</a>, <a href="#Page_331">331</a>, <a href="#Page_361">361</a>, <a href="#Page_381">381</a>, <a href="#Page_392">392</a>.<br />
+<br />
+Bullard, F.F., <a href="#Page_351">351</a>, <a href="#Page_357">357</a>.<br />
+<br />
+Burmeister, Richard, <a href="#Page_445">445</a>.<br />
+<br />
+Burns, <a href="#Page_204">204</a>.<br />
+<br />
+Burton, F.R., <a href="#Page_273">273</a>.<br />
+<br />
+Busch, Carl, <a href="#Page_445">445</a>.<br />
+<br />
+Byrd, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Byron, <a href="#Page_252">252</a>.<br />
+<br />
+<br />
+Canova, <a href="#Page_12">12</a>.<br />
+<br />
+Carew, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Carnegie, A., <a href="#Page_256">256</a>.<br />
+<br />
+Carpenter, H.B., <a href="#Page_213">213</a>.<br />
+<br />
+Carre&ntilde;o, <a href="#Page_36">36</a>.<br />
+<br />
+Carroll, Lewis, <a href="#Page_212">212</a>.<br />
+<br />
+Carter, R.I., <a href="#Page_294">294</a>.<br />
+<br />
+Chadwick, Geo. W., <a href="#Page_18">18</a>, <a href="#Page_175">175</a>, <a href="#Page_210">210</a>, <a href="#Page_220">220</a>, <a href="#Page_244">244</a>, <a href="#Page_347">347</a>, <a href="#Page_358">358</a>.<br />
+<br />
+Chaminade, <a href="#Page_218">218</a>.<br />
+<br />
+Champion, T., <a href="#Page_xiii">XIII</a>., <a href="#Page_415">415</a>.<br />
+<br />
+Cheney, J.V., <a href="#Page_89">89</a>, <a href="#Page_90">90</a>.<br />
+<br />
+Chicago Colony, <a href="#Page_18">18</a>.<br />
+<br />
+Chicago Orchestra, <a href="#Page_18">18</a>.<br />
+<br />
+Chinese Music, <a href="#Page_64">64</a>, <a href="#Page_86">86</a>, <a href="#Page_140">140</a>, <a href="#Page_143">143</a>.<br />
+<br />
+Chopin, <a href="#Page_52">52</a>, <a href="#Page_56">56</a>, <a href="#Page_90">90</a>, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_110">110</a>, <a href="#Page_116">116</a>, <a href="#Page_138">138</a>, <a href="#Page_163">163</a>, <a href="#Page_177">177</a>, <a href="#Page_178">178</a>, <a href="#Page_211">211</a>, <a href="#Page_250">250</a>, <a href="#Page_294">294</a>, <a href="#Page_317">317</a>, <a href="#Page_319">319</a>, <a href="#Page_338">338</a>, <a href="#Page_396">396</a>, <a href="#Page_421">421</a>.<br />
+<br />
+Cincinnati Colony, <a href="#Page_191">191</a>, <a href="#Page_270">270</a>, <a href="#Page_272">272</a>.<br />
+<br />
+Clarke, H.A., <a href="#Page_198">198</a>, <a href="#Page_444">444</a>.<br />
+<br />
+Clementi, <a href="#Page_113">113</a>.<br />
+<br />
+Cleveland Colony, <a href="#Page_394">394</a>, <a href="#Page_415">415</a>.<br />
+<br />
+Coccius, <a href="#Page_132">132</a>, <a href="#Page_249">249</a>.<br />
+<br />
+Coerne, L.A., <a href="#Page_262">262</a>, <a href="#Page_265">265</a>.<br />
+<br />
+Coleridge, <a href="#Page_62">62</a>, <a href="#Page_309">309</a>.<br />
+<br />
+College Music, <a href="#Page_20">20</a>, <a href="#Page_38">38</a>.<br />
+<br />
+Collins, Laura S., <a href="#Page_441">441</a>.<br />
+<br />
+Columbus, <a href="#Page_234">234</a>.<br />
+<br />
+Converse, C.C., <a href="#Page_256">256</a>, <a href="#Page_261">261</a>.<br />
+<br />
+Coombs, C.W., <a href="#Page_343">343</a>.<br />
+<br />
+Corelli, <a href="#Page_15">15</a>.<br />
+<br />
+Couperin, <a href="#Page_16">16</a>.<br />
+<br />
+Coverley, Robert, <a href="#Page_444">444</a>.<br />
+<br />
+Cramer, <a href="#Page_321">321</a>.<br />
+<br />
+Crane, Charlotte M., <a href="#Page_441">441</a>.<br />
+<br />
+Crane, Stephen, <a href="#Page_415">415</a>, <a href="#Page_418">418</a>.<br />
+<br />
+<br />
+Dachs, <a href="#Page_419">419</a>.<br />
+<br />
+Damrosch, Walter, <a href="#Page_261">261</a>, <a href="#Page_444">444</a>.<br />
+<br />
+Dante, <a href="#Page_229">229</a>.<br />
+<br />
+de Koven, R., <a href="#Page_334">334</a>.<br />
+<br />
+De Musset, A., <a href="#Page_109">109</a>.<br />
+<br />
+Denn&eacute;e, Charles, <a href="#Page_374">374</a>.<br />
+<br />
+Dickinson, Emily, <a href="#Page_369">369</a>, <a href="#Page_418">418</a>, <a href="#Page_424">424</a>.<br />
+<br />
+Diemer, <a href="#Page_134">134</a>.<br />
+<br />
+Donne, Jno., <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Dowland, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Draessecke, <a href="#Page_343">343</a>.<br />
+<br />
+Drake, Rodman, <a href="#Page_131">131</a>, <a href="#Page_168">168</a>.<br />
+<br />
+Drayton, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Dreams and Music, <a href="#Page_62">62</a>.<br />
+<br />
+Dressler, L.R., <a href="#Page_345">345</a>.<br />
+<br />
+<span class="pagenum"><a name="Page_451" id="Page_451">451</a></span>Drummond, <a href="#Page_xiii">XIII</a>., <a href="#Page_153">153</a>.<br />
+<br />
+Dubois, <a href="#Page_134">134</a>, <a href="#Page_358">358</a>.<br />
+<br />
+Dudley, Governor, <a href="#Page_166">166</a>.<br />
+<br />
+Dunbar, P.L., <a href="#Page_206">206</a>.<br />
+<br />
+Dunkley, Ferdinand, <a href="#Page_445">445</a>.<br />
+<br />
+Dv&ocirc;r&aacute;k, A., <a href="#Page_22">22</a>, <a href="#Page_77">77</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>, <a href="#Page_136">136</a>, <a href="#Page_278">278</a>, <a href="#Page_279">279</a>, <a href="#Page_305">305</a>, <a href="#Page_349">349</a>, <a href="#Page_371">371</a>.<br />
+<br />
+<br />
+Eddy, Clarence, <a href="#Page_59">59</a>, <a href="#Page_348">348</a>.<br />
+<br />
+Edison, <a href="#Page_16">16</a>.<br />
+<br />
+Edwards, Julian, <a href="#Page_444">444</a>.<br />
+<br />
+Egyptian Music, <a href="#Page_72">72</a>.<br />
+<br />
+Ehlert, <a href="#Page_37">37</a>.<br />
+<br />
+Ehling, Victor, <a href="#Page_419">419</a>.<br />
+<br />
+Ehrlich, <a href="#Page_412">412</a>.<br />
+<br />
+Eichberg, Julius, <a href="#Page_444">444</a>.<br />
+<br />
+Elson, L.C., <a href="#Page_16">16</a>.<br />
+<br />
+Emerson, <a href="#Page_14">14</a>.<br />
+<br />
+Emery, Stephen A., <a href="#Page_17">17</a>, <a href="#Page_95">95</a>, <a href="#Page_175">175</a>, <a href="#Page_244">244</a>, <a href="#Page_358">358</a>, <a href="#Page_375">375</a>.<br />
+<br />
+English Music, <a href="#Page_12">12</a>, <a href="#Page_248">248</a>, <a href="#Page_329">329</a>.<br />
+<br />
+Esputa, John, <a href="#Page_119">119</a>.<br />
+<br />
+<br />
+Fairlamb, J.R., <a href="#Page_344">344</a>.<br />
+<br />
+Farwell, A., <a href="#Page_348">348</a>.<br />
+<br />
+F&eacute;val, <a href="#Page_79">79</a>.<br />
+<br />
+Field, John, <a href="#Page_227">227</a>.<br />
+<br />
+Finck, Henry T., <a href="#Page_54">54</a>.<br />
+<br />
+Fisher, W.A., <a href="#Page_348">348</a>, <a href="#Page_371">371</a>.<br />
+<br />
+Fissot, <a href="#Page_412">412</a>.<br />
+<br />
+Fletcher, <a href="#Page_xii">XII</a>., <a href="#Page_150">150</a>.<br />
+<br />
+Florio, <a href="#Page_31">31</a>.<br />
+<br />
+Foerster, A.M., <a href="#Page_248">248</a>, <a href="#Page_256">256</a>.<br />
+<br />
+Folk-music, <a href="#Page_22">22</a>.<br />
+<br />
+Foote, Arthur, <a href="#Page_18">18</a>, <a href="#Page_224">224</a>, <a href="#Page_234">234</a>.<br />
+<br />
+Ford, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Franz, Robt., <a href="#Page_101">101</a>, <a href="#Page_104">104</a>, <a href="#Page_106">106</a>, <a href="#Page_173">173</a>, <a href="#Page_203">203</a>, <a href="#Page_248">248</a>.<br />
+<br />
+French influence, <a href="#Page_29">29</a>, <a href="#Page_36">36</a>, <a href="#Page_357">357</a>.<br />
+<br />
+Fuchs, Robt., <a href="#Page_419">419</a>.<br />
+<br />
+Furst, Wm., <a href="#Page_444">444</a>.<br />
+<br />
+<br />
+Gale, Clement R., <a href="#Page_445">445</a>.<br />
+<br />
+Gale, Norman, <a href="#Page_88">88</a>.<br />
+<br />
+Gava&euml;rt, <a href="#Page_426">426</a>.<br />
+<br />
+Gaynor, Mrs. Jessie L., <a href="#Page_441">441</a>.<br />
+<br />
+Gen&eacute;e, <a href="#Page_335">335</a>.<br />
+<br />
+German Influence, etc., <a href="#Page_17">17</a>, <a href="#Page_40">40</a>, <a href="#Page_49">49</a>, <a href="#Page_59">59</a>, <a href="#Page_119">119</a>, <a href="#Page_132">132</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Gerok, <a href="#Page_106">106</a>.<br />
+<br />
+Gilchrist, W.W., <a href="#Page_196">196</a>, <a href="#Page_209">209</a>.<br />
+<br />
+Gilder, R.W., <a href="#Page_277">277</a>.<br />
+<br />
+Gilmore, P.S., <a href="#Page_124">124</a>, <a href="#Page_261">261</a>.<br />
+<br />
+Gleason, F.G., <a href="#Page_348">348</a>, <a href="#Page_376">376</a>, <a href="#Page_382">382</a>.<br />
+<br />
+Godard, <a href="#Page_358">358</a>.<br />
+<br />
+Godowski, L., <a href="#Page_444">444</a>.<br />
+<br />
+Goethe, <a href="#Page_43">43</a>, <a href="#Page_95">95</a>, <a href="#Page_255">255</a>.<br />
+<br />
+Goetschius, Percy, <a href="#Page_388">388</a>.<br />
+<br />
+Goldmark, Carl, <a href="#Page_279">279</a>, <a href="#Page_281">281</a>.<br />
+<br />
+Goldmark, Rubin, <a href="#Page_278">278</a>, <a href="#Page_282">282</a>.<br />
+<br />
+Goodrich, A.J., <a href="#Page_28">28</a>, <a href="#Page_130">130</a>, <a href="#Page_171">171</a>, <a href="#Page_199">199</a>, <a href="#Page_380">380</a>, <a href="#Page_388">388</a>, <a href="#Page_391">391</a>.<br />
+<br />
+Goodrich, J. Wallace, <a href="#Page_348">348</a>.<br />
+<br />
+Gottschalk, Louis Moreau, <a href="#Page_17">17</a>, <a href="#Page_301">301</a>, <a href="#Page_422">422</a>.<br />
+<br />
+Gounod, <a href="#Page_321">321</a>.<br />
+<br />
+Grabau, <a href="#Page_371">371</a>.<br />
+<br />
+Grand Operas, <a href="#Page_152">152</a>, <a href="#Page_262">262</a>.<br />
+<br />
+Gray, <a href="#Page_xii">XII</a>.<br />
+<br />
+Greek Music, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>, <a href="#Page_155">155</a>.<br />
+<br />
+Greene, <a href="#Page_xii">XII</a>.<br />
+<br />
+Grieg, <a href="#Page_39">39</a>, <a href="#Page_54">54</a>, <a href="#Page_134">134</a>, <a href="#Page_190">190</a>, <a href="#Page_281">281</a>, <a href="#Page_396">396</a>.<br />
+<br />
+Grill, <a href="#Page_132">132</a>, <a href="#Page_249">249</a>.<br />
+<br />
+Guilbert, Yvette, <a href="#Page_129">129</a>.<br />
+<br />
+Guilmant, <a href="#Page_358">358</a>, <a href="#Page_412">412</a>.<br />
+<br />
+Guyon, <a href="#Page_322">322</a>.<br />
+<br />
+<br />
+<span class="pagenum"><a name="Page_452" id="Page_452">452</a></span>Hadley, H.K., <a href="#Page_241">241</a>, <a href="#Page_247">247</a>.<br />
+<br />
+Haggard, Rider, <a href="#Page_214">214</a>.<br />
+<br />
+Hale, F.W., <a href="#Page_358">358</a>.<br />
+<br />
+Hale, Mrs. Philip, <a href="#Page_439">439</a>.<br />
+<br />
+Hale, Philip, <a href="#Page_186">186</a>, <a href="#Page_288">288</a>, <a href="#Page_439">439</a>.<br />
+<br />
+Halir, Carl, <a href="#Page_432">432</a>.<br />
+<br />
+Hall, Bishop, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Hamerik, A., <a href="#Page_444">444</a>.<br />
+<br />
+Hammond, Dr. Wm. A., <a href="#Page_62">62</a>.<br />
+<br />
+Handel, <a href="#Page_15">15</a>, <a href="#Page_152">152</a>, <a href="#Page_162">162</a>, <a href="#Page_184">184</a>, <a href="#Page_246">246</a>, <a href="#Page_432">432</a>.<br />
+<br />
+H&auml;ndel and Haydn Society, <a href="#Page_374">374</a>, <a href="#Page_428">428</a>.<br />
+<br />
+Hanscom, E.W., <a href="#Page_275">275</a>.<br />
+<br />
+Hanslick, <a href="#Page_129">129</a>.<br />
+<br />
+Harris, Victor, <a href="#Page_336">336</a>.<br />
+<br />
+Harvard University, <a href="#Page_154">154</a>, <a href="#Page_222">222</a>.<br />
+<br />
+Hastings, F.S., <a href="#Page_344">344</a>.<br />
+<br />
+Haupt, <a href="#Page_151">151</a>, <a href="#Page_257">257</a>, <a href="#Page_311">311</a>, <a href="#Page_412">412</a>.<br />
+<br />
+Hauptmann, <a href="#Page_167">167</a>, <a href="#Page_257">257</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Hawley, C.B., <a href="#Page_32">32</a>.<br />
+<br />
+Haydn, <a href="#Page_403">403</a>, <a href="#Page_407">407</a>.<br />
+<br />
+Heindl, H., <a href="#Page_244">244</a>.<br />
+<br />
+Heine, <a href="#Page_44">44</a>, <a href="#Page_88">88</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>, <a href="#Page_196">196</a>, <a href="#Page_215">215</a>, <a href="#Page_247">247</a>, <a href="#Page_309">309</a>, <a href="#Page_364">364</a>, <a href="#Page_413">413</a>.<br />
+<br />
+Heller, <a href="#Page_164">164</a>, <a href="#Page_350">350</a>.<br />
+<br />
+Hemans, <a href="#Page_202">202</a>.<br />
+<br />
+Henderson, W.J., <a href="#Page_185">185</a>.<br />
+<br />
+Henley, W.E., <a href="#Page_431">431</a>. <br />
+<br />
+Henselt, <a href="#Page_104">104</a>.<br />
+<br />
+Herbert, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Herbert, Victor, <a href="#Page_444">444</a>.<br />
+<br />
+Herford, Oliver, <a href="#Page_369">369</a>.<br />
+<br />
+Herrick, XIII., <a href="#Page_87">87</a>, <a href="#Page_179">179</a>, <a href="#Page_228">228</a>, <a href="#Page_369">369</a>, <a href="#Page_407">407</a>, <a href="#Page_413">413</a>.<br />
+<br />
+Heyman, <a href="#Page_37">37</a>.<br />
+<br />
+Hieber, <a href="#Page_263">263</a>.<br />
+<br />
+Hiler, E.O., <a href="#Page_375">375</a>.<br />
+<br />
+Hood, Helen, <a href="#Page_441">441</a>.<br />
+<br />
+Homer, Sidney, <a href="#Page_375">375</a>.<br />
+<br />
+Hopkins, H.P., <a href="#Page_349">349</a>.<br />
+<br />
+Hopper, <a href="#Page_126">126</a>.<br />
+<br />
+Horace, <a href="#Page_430">430</a>.<br />
+<br />
+Hovey, Richard, <a href="#Page_110">110</a>, <a href="#Page_351">351</a>.<br />
+<br />
+Howe, Mrs. J.W., <a href="#Page_424">424</a>.<br />
+<br />
+Humorous Music, <a href="#Page_25">25</a>, <a href="#Page_64">64</a>, <a href="#Page_212">212</a>, <a href="#Page_433">433</a>.<br />
+<br />
+Humperdinck, <a href="#Page_348">348</a>.<br />
+<br />
+Huneker, James, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_281">281</a>.<br />
+<br />
+Huss, H.H., <a href="#Page_291">291</a>, <a href="#Page_297">297</a>, <a href="#Page_351">351</a>.<br />
+<br />
+Hyllested, August, <a href="#Page_444">444</a>.<br />
+<br />
+<br />
+Iceland, <a href="#Page_447">447</a>.<br />
+<br />
+Indian Music, <a href="#Page_22">22</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>.<br />
+<br />
+Irving, <a href="#Page_170">170</a>.<br />
+<br />
+<br />
+Jacobsen, O.F., <a href="#Page_322">322</a>.<br />
+<br />
+Jadassohn, <a href="#Page_211">211</a>, <a href="#Page_271">271</a>.<br />
+<br />
+Japanese Music, <a href="#Page_139">139</a>, <a href="#Page_142">142</a>.<br />
+<br />
+Jensen, G., <a href="#Page_136">136</a>, <a href="#Page_350">350</a>.<br />
+<br />
+Joachim, <a href="#Page_97">97</a>.<br />
+<br />
+John, <a href="#Page_343">343</a>.<br />
+<br />
+Johns, Clayton, <a href="#Page_368">368</a>, <a href="#Page_370">370</a>.<br />
+<br />
+Jonson, <a href="#Page_xii">XII</a>., <a href="#Page_57">57</a>, <a href="#Page_88">88</a>.<br />
+<br />
+Jordan, Jules, <a href="#Page_274">274</a>.<br />
+<br />
+Joseffy, <a href="#Page_71">71</a>, <a href="#Page_278">278</a>, <a href="#Page_444">444</a>.<br />
+<br />
+<br />
+Kaltenborn, Franz, <a href="#Page_19">19</a>, <a href="#Page_279">279</a>, <a href="#Page_295">295</a>.<br />
+<br />
+Keats, <a href="#Page_152">152</a>, <a href="#Page_296">296</a>.<br />
+<br />
+Kelley, Edgar S., <a href="#Page_27">27</a>, <a href="#Page_57">57</a>, <a href="#Page_76">76</a>, <a href="#Page_140">140</a>, <a href="#Page_272">272</a>.<br />
+<br />
+Kerker, Gustave, <a href="#Page_444">444</a>.<br />
+<br />
+Kiel, <a href="#Page_237">237</a>, <a href="#Page_371">371</a>, <a href="#Page_396">396</a>.<br />
+<br />
+Kieserling, R., Jr., <a href="#Page_270">270</a>.<br />
+<br />
+Kipling, <a href="#Page_50">50</a>, <a href="#Page_206">206</a>, <a href="#Page_359">35</a>9.<br />
+<br />
+Klein, B.O., <a href="#Page_444">444</a>.<br />
+<br />
+Klindworth, Karl, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>, <a href="#Page_111">111</a>.<br />
+<br />
+<span class="pagenum"><a name="Page_453" id="Page_453">453</a></span>
+Kneisel, Franz, <a href="#Page_263">263</a>, <a href="#Page_286">286</a>, <a href="#Page_432">432</a>.<br />
+<br />
+Koelling, Adolph, <a href="#Page_444">444</a>.<br />
+<br />
+Korn, Mrs. Clara A., <a href="#Page_441">441</a>.<br />
+<br />
+Kortheuer, H.O.C., <a href="#Page_299">299</a>.<br />
+<br />
+Kotzschmar, <a href="#Page_150">150</a>.<br />
+<br />
+Krehbiel, H.E., <a href="#Page_273">273</a>, <a href="#Page_361">361</a>.<br />
+<br />
+Kroeger, E.R., <a href="#Page_420">420</a>, <a href="#Page_422">422</a>.<br />
+<br />
+Kruger, <a href="#Page_59">59</a>.<br />
+<br />
+Kullak, <a href="#Page_342">342</a>, <a href="#Page_387">387</a>.<br />
+<br />
+<br />
+Lachaume, Ami&eacute;, <a href="#Page_444">444</a>.<br />
+<br />
+Lachmund, C.V., <a href="#Page_349">349</a>.<br />
+<br />
+Lang, B.J., <a href="#Page_95">95</a>, <a href="#Page_212">212</a>, <a href="#Page_226">226</a>, <a href="#Page_375">375</a>, <a href="#Page_432">432</a>.<br />
+<br />
+Lang, M.R., <a href="#Page_424">424</a>, <a href="#Page_432">432</a>, <a href="#Page_438">438</a>.<br />
+<br />
+Lanier, S., <a href="#Page_169">169</a>, <a href="#Page_171">171</a>, <a href="#Page_173">173</a>.<br />
+<br />
+Lassen, Edward, <a href="#Page_132">132</a>, <a href="#Page_190">190</a>.<br />
+<br />
+Lassus, <a href="#Page_15">15</a>.<br />
+<br />
+Lawes, Harry, <a href="#Page_153">153</a>, <a href="#Page_248">248</a>, <a href="#Page_328">328</a>.<br />
+<br />
+Leading Motives, <a href="#Page_80">80</a>.<br />
+<br />
+Ledochowski, <a href="#Page_59">59</a>.<br />
+<br />
+Lewing, Adele, <a href="#Page_445">445</a>.<br />
+<br />
+Liebling, Emil, <a href="#Page_445">445</a>.<br />
+<br />
+Liszt, <a href="#Page_37">37</a>, <a href="#Page_59">59</a>, <a href="#Page_97">97</a>, <a href="#Page_190">190</a>, <a href="#Page_196">196</a>, <a href="#Page_237">237</a>, <a href="#Page_341">341</a>, <a href="#Page_387">387</a>.<br />
+<br />
+Lodge, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Loeffler, C.M., <a href="#Page_444">444</a>.<br />
+<br />
+Longfellow, <a href="#Page_81">81</a>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>.<br />
+<br />
+Loomis, C.B., <a href="#Page_84">84</a>.<br />
+<br />
+Loomis, H.W., <a href="#Page_27">27</a>, <a href="#Page_77">77</a>, <a href="#Page_91">91</a>.<br />
+<br />
+Loretz, J.M., <a href="#Page_344">344</a>.<br />
+<br />
+L&ouml;schorn, <a href="#Page_411">411</a>.<br />
+<br />
+Lowell, <a href="#Page_201">201</a>.<br />
+<br />
+Lulli, <a href="#Page_16">16</a>.<br />
+<br />
+Lyly, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+<br />
+MacDowell, E.A., <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_34">34</a>, <a href="#Page_57">57</a>.<br />
+<br />
+Macmonnies, <a href="#Page_242">242</a>.<br />
+<br />
+Mandyczewski, <a href="#Page_244">244</a>.<br />
+<br />
+Manney, C.F., <a href="#Page_348">348</a>.<br />
+<br />
+Manuscript Societies, <a href="#Page_20">20</a>.<br />
+<br />
+March-tunes, <a href="#Page_112">112</a>.<br />
+<br />
+Marlowe, <a href="#Page_xii">XII</a>.<br />
+<br />
+Marmontel, <a href="#Page_37">37</a>.<br />
+<br />
+Marston, G.W., <a href="#Page_358">358</a>, <a href="#Page_364">364</a>, <a href="#Page_368">368</a>.<br />
+<br />
+Marteau, Henri, <a href="#Page_134">134</a>.<br />
+<br />
+Martin, E.S., <a href="#Page_30">30</a>.<br />
+<br />
+Marx, A.B., <a href="#Page_389">389</a>.<br />
+<br />
+Mason, Dr. Wm., <a href="#Page_340">340</a>, <a href="#Page_341">341</a>, <a href="#Page_387">387</a>.<br />
+<br />
+Mason, Lowell, <a href="#Page_17">17</a>, <a href="#Page_157">157</a>, <a href="#Page_340">340</a>.<br />
+<br />
+Maud, Constance, <a href="#Page_441">441</a>.<br />
+<br />
+McCagg Prize, <a href="#Page_176">176</a>.<br />
+<br />
+McCaull, <a href="#Page_126">126</a>.<br />
+<br />
+McLellan, C.M.S., <a href="#Page_63">63</a>.<br />
+<br />
+Mendelssohn, <a href="#Page_59">59</a>, <a href="#Page_155">155</a>, <a href="#Page_157">157</a>, <a href="#Page_184">184</a>.<br />
+<br />
+Mendelssohn Club, <a href="#Page_209">209</a>.<br />
+<br />
+Mendelssohn, Fanny, <a href="#Page_425">425</a>.<br />
+<br />
+Mendelssohn Glee Club, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_325">325</a>.<br />
+<br />
+Meyerbeer, <a href="#Page_126">126</a>.<br />
+<br />
+Miles, General, <a href="#Page_116">116</a>.<br />
+<br />
+Millard, H., <a href="#Page_337">337</a>.<br />
+<br />
+Miller, C.C., <a href="#Page_392">392</a>.<br />
+<br />
+Millet, <a href="#Page_313">313</a>.<br />
+<br />
+Mills, S.B., <a href="#Page_321">321</a>.<br />
+<br />
+Milton, <a href="#Page_152">152</a>, <a href="#Page_328">328</a>.<br />
+<br />
+Montaigne, <a href="#Page_31">31</a>.<br />
+<br />
+Monteverde, <a href="#Page_16">16</a>.<br />
+<br />
+Moody and Sankey, <a href="#Page_157">157</a>.<br />
+<br />
+Morgan, John P., <a href="#Page_371">371</a>.<br />
+<br />
+Morgan, Matt., <a href="#Page_120">120</a>.<br />
+<br />
+Moscheles, <a href="#Page_167">167</a>, <a href="#Page_311">311</a>, <a href="#Page_347">347</a>, <a href="#Page_381">381</a>.<br />
+<br />
+Mosenthal, J., <a href="#Page_324">324</a>.<br />
+<br />
+Moskowski, <a href="#Page_396">396</a>, <a href="#Page_439">439</a>.<br />
+<br />
+Mozart, <a href="#Page_116">116</a>, <a href="#Page_306">306</a>, <a href="#Page_395">395</a>.<br />
+<br />
+<br />
+<span class="pagenum"><a name="Page_454" id="Page_454">454</a></span>
+Namby-pamby, <a href="#Page_25">25</a>.<br />
+<br />
+National Airs, <a href="#Page_259">259</a>.<br />
+<br />
+Negro Music, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_48">48</a>, <a href="#Page_122">122</a>, <a href="#Page_128">128</a>, <a href="#Page_131">131</a>, <a href="#Page_137">137</a>.<br />
+<br />
+Neidlinger, W.H., <a href="#Page_391">391</a>, <a href="#Page_394">394</a>.<br />
+<br />
+Neitzel, <a href="#Page_136">136</a>.<br />
+<br />
+Nevin, Arthur, <a href="#Page_342">342</a>.<br />
+<br />
+Nevin, Ethelbert, <a href="#Page_92">92</a>, <a href="#Page_111">111</a>.<br />
+<br />
+Nevin, R.P., <a href="#Page_94">94</a>.<br />
+<br />
+New York Colony, <a href="#Page_269">269</a>, <a href="#Page_282">282</a>, <a href="#Page_350">350</a>.<br />
+<br />
+Nicod&eacute;, <a href="#Page_129">129</a>.<br />
+<br />
+Nobles, M., <a href="#Page_120">120</a>.<br />
+<br />
+Norris, Homer A., <a href="#Page_29">29</a>, <a href="#Page_348">348</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_388">388</a>.<br />
+<br />
+Northeastern S&auml;engerbund, <a href="#Page_191">191</a>.<br />
+<br />
+<br />
+Offenbach, <a href="#Page_120">120</a>.<br />
+<br />
+Omar, <a href="#Page_338">338</a>.<br />
+<br />
+Orientalism, <a href="#Page_45">45</a>.<br />
+<br />
+Orth, John, <a href="#Page_175">175</a>, <a href="#Page_445">445</a>.<br />
+<br />
+Oxenford, John, <a href="#Page_329">329</a>.<br />
+<br />
+<br />
+Page, N.C., <a href="#Page_139">139</a>, <a href="#Page_143">143</a>, <a href="#Page_272">272</a>.<br />
+<br />
+Paine, John Knowles, <a href="#Page_18">18</a>, <a href="#Page_162">162</a>, <a href="#Page_226">226</a>, <a href="#Page_263">263</a>, <a href="#Page_370">370</a>.<br />
+<br />
+Palestrina, <a href="#Page_16">16</a>, <a href="#Page_284">284</a>.<br />
+<br />
+Pantomime Music, <a href="#Page_79">79</a>, <a href="#Page_110">110</a>.<br />
+<br />
+Papperitz, <a href="#Page_132">132</a>, <a href="#Page_249">249</a>.<br />
+<br />
+Parker, H.W., <a href="#Page_174">174</a>, <a href="#Page_188">188</a>, <a href="#Page_192">192</a>, <a href="#Page_371">371</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Parker, J.C.D., <a href="#Page_373">373</a>.<br />
+<br />
+Parker, Mrs. E.G., <a href="#Page_183">183</a>.<br />
+<br />
+Parrot, John, <a href="#Page_60">60</a>.<br />
+<br />
+Pasmore, H.B., <a href="#Page_272">272</a>.<br />
+<br />
+Pendleton, C, <a href="#Page_345">345</a>.<br />
+<br />
+Penfield, S.M., <a href="#Page_347">347</a>.<br />
+<br />
+Perabo, Ernst, <a href="#Page_445">445</a>.<br />
+<br />
+Peri, <a href="#Page_15">15</a>.<br />
+<br />
+Perosi, <a href="#Page_284">284</a>.<br />
+<br />
+Perugino, <a href="#Page_12">12</a>.<br />
+<br />
+Philadelphia, <a href="#Page_197">19</a>7.<br />
+<br />
+Piern&eacute;, <a href="#Page_134">134</a>.<br />
+<br />
+Plaidy, <a href="#Page_167">167</a>, <a href="#Page_257">257</a>, <a href="#Page_381">381</a>.<br />
+<br />
+Poe, <a href="#Page_14">14</a>, <a href="#Page_76">76</a>.<br />
+<br />
+Porpora, <a href="#Page_15">15</a>.<br />
+<br />
+Pratt, S.G., <a href="#Page_234">234</a>, <a href="#Page_240">240</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Proctor, A.A., <a href="#Page_81">81</a>.<br />
+<br />
+Program Music, <a href="#Page_41">41</a>, <a href="#Page_44">44</a>.<br />
+<br />
+Prout, E., <a href="#Page_389">389</a>.<br />
+<br />
+Pugno, <a href="#Page_134">134</a>.<br />
+<br />
+Purcell, <a href="#Page_14">14</a>, <a href="#Page_248">248</a>.<br />
+<br />
+Puritan Influence, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.<br />
+<br />
+<br />
+Radeck, <a href="#Page_361">361</a>.<br />
+<br />
+Raff, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_97">97</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Raif, O., <a href="#Page_381">381</a>, <a href="#Page_396">396</a>, <a href="#Page_439">439</a>.<br />
+<br />
+Ralegh, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Rameau, <a href="#Page_16">16</a>.<br />
+<br />
+Rankin, McKee, <a href="#Page_60">60</a>.<br />
+<br />
+Raphael, <a href="#Page_12">12</a>.<br />
+<br />
+Reinecke, <a href="#Page_132">132</a>, <a href="#Page_211">211</a>, <a href="#Page_271">271</a>, <a href="#Page_347">347</a>.<br />
+<br />
+"Ren&eacute; Victor," <a href="#Page_439">439</a>.<br />
+<br />
+Rheinberger, J., <a href="#Page_211">211</a>, <a href="#Page_292">292</a>, <a href="#Page_355">355</a>.<br />
+<br />
+Richter, E.F., <a href="#Page_167">167</a>, <a href="#Page_249">249</a>, <a href="#Page_257">257</a>, <a href="#Page_342">342</a>, <a href="#Page_381">381</a>, <a href="#Page_387">387</a>.<br />
+<br />
+Rietz, <a href="#Page_167">167</a>.<br />
+<br />
+Riv&eacute;-King, Julie, <a href="#Page_441">441</a>.<br />
+<br />
+Robyn, A.G., <a href="#Page_419">419</a>.<br />
+<br />
+Robyn, Wm., <a href="#Page_419">419</a>.<br />
+<br />
+Rogers, J.H., <a href="#Page_411">411</a>, <a href="#Page_414">414</a>.<br />
+<br />
+Rogers, Mrs. C.K., <a href="#Page_445">445</a>.<br />
+<br />
+Rohde, <a href="#Page_311">311</a>, <a href="#Page_412">412</a>.<br />
+<br />
+Rossini, <a href="#Page_183">183</a>.<br />
+<br />
+Rotoli, Augusto, <a href="#Page_445">445</a>.<br />
+<br />
+Rubinstein, <a href="#Page_77">77</a>, <a href="#Page_129">129</a>.<br />
+<br />
+R&uuml;ckert, <a href="#Page_193">193</a>.<br />
+<br />
+Rummel, Franz, <a href="#Page_371">371</a>.<br />
+<br />
+Runciman, John F., <a href="#Page_14">14</a>.<br />
+<br />
+Russell, L.A., <a href="#On">144</a>.<br />
+<br />
+<span class="pagenum"><a name="Page_455" id="Page_455">455</a></span>
+Russian music, <a href="#Page_57">57</a>, <a href="#Page_447">447</a>.<br />
+<br />
+Rutenber, <a href="#Page_324">324</a>.<br />
+<br />
+<br />
+Saar, L.V., <a href="#Page_444">444</a>.<br />
+<br />
+Saint-Sa&euml;ns, <a href="#Page_108">108</a>.<br />
+<br />
+San Francisco, <a href="#Page_59">59</a>, <a href="#Page_272">272</a>, <a href="#Page_371">371</a>.<br />
+<br />
+Sappho, <a href="#Page_424">424</a>.<br />
+<br />
+Savard, <a href="#Page_37">37</a>.<br />
+<br />
+Sawyer, H.P., <a href="#Page_441">441</a>.<br />
+<br />
+Scarlattis, <a href="#Page_15">15</a>.<br />
+<br />
+Scharwenka, X., <a href="#Page_396">396</a>, <a href="#Page_444">444</a>.<br />
+<br />
+Schiller, <a href="#Page_95">95</a>.<br />
+<br />
+Schimon, <a href="#Page_249">249</a>.<br />
+<br />
+Schnecker, P.A., <a href="#Page_445">445</a>.<br />
+<br />
+Schoenefeld, <a href="#Page_128">128</a>, <a href="#Page_135">135</a>.<br />
+<br />
+Schubert, <a href="#Page_103">103</a>, <a href="#Page_261">261</a>, <a href="#Page_350">350</a>.<br />
+<br />
+Schumann, <a href="#Page_vii">VII</a>., <a href="#Page_56">56</a>, <a href="#Page_88">88</a>, <a href="#Page_91">91</a>, <a href="#Page_98">98</a>, <a href="#Page_101">101</a>, <a href="#Page_104">104</a>, <a href="#Page_106">106</a>, <a href="#Page_163">163</a>, <a href="#Page_173">173</a>, <a href="#Page_177">177</a>, <a href="#Page_215">215</a>, <a href="#Page_397">397</a>.<br />
+<br />
+Schuyler, Wm., <a href="#Page_415">415</a>, <a href="#Page_419">419</a>.<br />
+<br />
+Scott, <a href="#Page_12">12</a>, <a href="#Page_171">171</a>.<br />
+<br />
+Scotch influence, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_61">61</a>, <a href="#Page_196">196</a>.<br />
+<br />
+Seeboeck, W.C., <a href="#Page_444">444</a>.<br />
+<br />
+Seidl, A., <a href="#Page_236">236</a>, <a href="#Page_245">245</a>, <a href="#Page_261">261</a>, <a href="#Page_279">279</a>, <a href="#Page_322">322</a>, <a href="#Page_349">349</a>, <a href="#Page_422">422</a>.<br />
+<br />
+Seiffritz, <a href="#Page_59">59</a>, <a href="#Page_343">343</a>.<br />
+<br />
+Seiss, <a href="#Page_350">350</a>.<br />
+<br />
+Severn, E., <a href="#Page_445">445</a>.<br />
+<br />
+Shakespeare, <a href="#Page_xii">XII.</a>, <a href="#Page_31">31</a>, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_87">87</a>, <a href="#Page_95">95</a>, <a href="#Page_150">150</a>, <a href="#Page_152">152</a>, <a href="#Page_173">173</a>, <a href="#Page_228">228</a>, <a href="#Page_239">239</a>, <a href="#Page_297">297</a>.<br />
+<br />
+Sharp, Wm., <a href="#Page_81">81</a>.<br />
+<br />
+Shelley, <a href="#Page_351">351</a>.<br />
+<br />
+Shelley, H.R., <a href="#Page_304">304</a>, <a href="#Page_308">308</a>.<br />
+<br />
+Sherwood, Wm. H., <a href="#Page_19">19</a>, <a href="#Page_60">60</a>, <a href="#Page_286">286</a>, <a href="#Page_311">311</a>, <a href="#Page_370">370</a>, <a href="#Page_383">383</a>, <a href="#Page_387">387</a>.<br />
+<br />
+Shirley, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Sidney, <a href="#Page_xiii">XIII</a>., <a href="#Page_228">228</a>.<br />
+<br />
+Siloti, A., <a href="#Page_192">192</a>.<br />
+<br />
+Singer, Otto, <a href="#Page_396">396</a>, <a href="#Page_444">444</a>.<br />
+<br />
+Sitt, H., <a href="#Page_192">192</a>.<br />
+<br />
+Smith, G., <a href="#Page_309">309</a>, <a href="#Page_319">319</a>.<br />
+<br />
+Smith, Wilson G., <a href="#Page_395">395</a>, <a href="#Page_406">406</a>.<br />
+<br />
+Sommer, Charles, <a href="#Page_414">414</a>.<br />
+<br />
+Sonatas, <a href="#Page_51">51</a>, <a href="#Page_56">56</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Sophokles, <a href="#Page_154">154</a>, <a href="#Page_161">161</a>.<br />
+<br />
+Sousa, John P., <a href="#Page_112">112</a>, <a href="#Page_128">128</a>.<br />
+<br />
+Spanish influence, <a href="#Page_119">119</a>.<br />
+<br />
+Spanuth, A., <a href="#Page_444">444</a>.<br />
+<br />
+Speidel, <a href="#Page_59">59</a>, <a href="#Page_343">343</a>.<br />
+<br />
+Spencer, Fanny M., <a href="#Page_441">441</a>.<br />
+<br />
+Spenser, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Spohr, <a href="#Page_257">257</a>.<br />
+<br />
+Stair, Patty, <a href="#Page_414">414</a>, <a href="#Page_441">441</a>.<br />
+<br />
+Stedman, E.C., <a href="#Page_171">171</a>, <a href="#Page_277">277</a>, <a href="#Page_373">373</a>.<br />
+<br />
+Sternberg, Constantin von, <a href="#Page_444">444</a>.<br />
+<br />
+Stevenson, R.L., <a href="#Page_12">12</a>, <a href="#Page_105">105</a>.<br />
+<br />
+St. Louis Colony, <a href="#Page_270">270</a>, <a href="#Page_415">415</a>, <a href="#Page_422">422</a>.<br />
+<br />
+Stoeckel, G.J., <a href="#Page_305">305</a>.<br />
+<br />
+Strauss, J., <a href="#Page_114">114</a>.<br />
+<br />
+Strauss, R., <a href="#Page_407">407</a>.<br />
+<br />
+Strong, G.T., <a href="#Page_445">445</a>.<br />
+<br />
+Suckling, <a href="#Page_228">228</a>.<br />
+<br />
+Swinburne, <a href="#Page_383">383</a>.<br />
+<br />
+Symphonies, <a href="#Page_64">64</a>, <a href="#Page_147">147</a>, <a href="#Page_218">218</a>, <a href="#Page_298">298</a>.<br />
+<br />
+<br />
+Taft, F., <a href="#Page_347">347</a>.<br />
+<br />
+Tartini, <a href="#Page_15">15</a>, <a href="#Page_62">62</a>.<br />
+<br />
+Taussig, <a href="#Page_342">342</a>, <a href="#Page_381">381</a>.<br />
+<br />
+Tennyson, <a href="#Page_42">42</a>, <a href="#Page_55">55</a>, <a href="#Page_328">328</a>.<br />
+<br />
+Theokritos, <a href="#Page_384">384</a>.<br />
+<br />
+Theorists, <a href="#Page_28">28</a>, <a href="#Page_388">388</a>.<br />
+<br />
+Thomas, Theodore, <a href="#Page_18">18</a>, <a href="#Page_151">151</a>, <a href="#Page_153">153</a>, <a href="#Page_168">168</a>, <a href="#Page_169">169</a>, <a href="#Page_257">257</a>, <a href="#Page_261">261</a>, <a href="#Page_264">264</a>, <a href="#Page_349">349</a>, <a href="#Page_376">376</a>, <a href="#Page_380">380</a>, <a href="#Page_432">432</a>.<br />
+<br />
+<span class="pagenum"><a name="Page_456" id="Page_456">456</a></span>
+Tschaïkowski, <a href="#Page_232">232</a>, <a href="#Page_372">372</a>, <a href="#Page_391">391</a>.<br />
+<br />
+Tufts, John W., <a href="#Page_366">366</a>.<br />
+<br />
+<br />
+Upton, Geo. P., <a href="#Page_152">152</a>, <a href="#Page_380">380</a>.<br />
+<br />
+Urban, <a href="#Page_135">135</a>.<br />
+<br />
+<br />
+Van der Stucken, Frank, <a href="#Page_19">19</a>, <a href="#Page_188">188</a>, <a href="#Page_196">196</a>, <a href="#Page_292">292</a>.<br />
+<br />
+Vergil, <a href="#Page_229">229</a>.<br />
+<br />
+Verlaine, <a href="#Page_81">81</a>.<br />
+<br />
+Vieh, G.C., <a href="#Page_419">419</a>.<br />
+<br />
+Vierling, <a href="#Page_135">135</a>.<br />
+<br />
+Vogrich, Max, <a href="#Page_444">444</a>.<br />
+<br />
+Von B&ouml;hme, <a href="#Page_94">94</a>.<br />
+<br />
+Von B&uuml;low, H., <a href="#Page_96">96</a>.<br />
+<br />
+<br />
+Wagner, <a href="#Page_50">50</a>, <a href="#Page_56">56</a>, <a href="#Page_99">99</a>, <a href="#Page_111">111</a>, <a href="#Page_114">114</a>, <a href="#Page_125">125</a>, <a href="#Page_157">157</a>, <a href="#Page_162">162</a>, <a href="#Page_201">201</a>, <a href="#Page_207">207</a>, <a href="#Page_223">223</a>, <a href="#Page_237">237</a>.<br />
+<br />
+Wagner, Frau Cosima, <a href="#Page_97">97</a>.<br />
+<br />
+Waller, Henry, <a href="#Page_444">444</a>.<br />
+<br />
+Warren, G.W., <a href="#Page_324">324</a>, <a href="#Page_346">346</a>.<br />
+<br />
+Warren, R.H., <a href="#Page_345">345</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Warren, S.P., <a href="#Page_311">311</a>.<br />
+<br />
+Weatherby, F.E., <a href="#Page_329">329</a>.<br />
+<br />
+Weitzmann, <a href="#Page_381">381</a>, <a href="#Page_387">387</a>.<br />
+<br />
+Welsh Music, <a href="#Page_447">447</a>.<br />
+<br />
+Wheeler, A.C., <a href="#Page_320">320</a>.<br />
+<br />
+Whelpley, B.L., <a href="#Page_375">375</a>.<br />
+<br />
+Whiting, <a href="#Page_283">283</a>, <a href="#Page_291">291</a>.<br />
+<br />
+Whiting, G.E., <a href="#Page_360">360</a>.<br />
+<br />
+Whitman, Walt, <a href="#Page_14">14</a>, <a href="#Page_418">418</a>.<br />
+<br />
+Whittier, <a href="#Page_153">153</a>.<br />
+<br />
+Widor, <a href="#Page_412">412</a>.<br />
+<br />
+Wiegand, Emil, <a href="#Page_270">270</a>.<br />
+<br />
+Wieprecht, <a href="#Page_151">151</a>.<br />
+<br />
+Willaert, <a href="#Page_15">15</a>.<br />
+<br />
+Wither, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Women as Composers, <a href="#Page_423">423</a>, <a href="#Page_441">441</a>.<br />
+<br />
+Wood, Mrs. M.K., <a href="#Page_440">440</a>.<br />
+<br />
+Woodberry, G.E., <a href="#Page_161">161</a>.<br />
+<br />
+Wotton, <a href="#Page_xiii">XIII</a>.<br />
+<br />
+Wuellner, <a href="#Page_136">136</a>.<br />
+<br />
+<br />
+Yale University, <a href="#Page_175">175</a>.<br />
+<br />
+Young, Mrs. E.M., <a href="#Page_445">445</a>.<br />
+<br />
+<br />
+Zeck, F., Jr., <a href="#Page_272">272</a>.<br />
+<br />
+Zeno, <a href="#Page_12">12</a>.<br />
+<br />
+Zola, <a href="#Page_418">418</a>.<br />
+</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Contemporary American Composers, by Rupert Hughes
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@@ -0,0 +1,8633 @@
+Project Gutenberg's Contemporary American Composers, by Rupert Hughes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Contemporary American Composers
+       Being a Study of the Music of This Country, Its Present
+       Conditions and Its Future, with Critical Estimates and
+       Biographies of the Principal Living Composers; and an
+       Abundance of Portraits, Fac-simile Musical Autographs, and
+       Compositions
+
+Author: Rupert Hughes
+
+Release Date: December 10, 2007 [EBook #23800]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS ***
+
+
+
+
+Produced by David Newman, Jeffrey Johnson, Suzanne Lybarger,
+Linda Cantoni, and the Online Distributed Proofreading
+Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Notes: Printer errors have been corrected. Full-page
+illustrations have been moved so as not to interrupt the flow of the
+text.]
+
+
+
+
+CONTEMPORARY
+AMERICAN COMPOSERS
+
+BEING A STUDY OF THE MUSIC OF THIS
+COUNTRY, ITS PRESENT CONDITIONS AND ITS
+FUTURE, WITH CRITICAL ESTIMATES AND
+BIOGRAPHIES OF THE PRINCIPAL LIVING
+COMPOSERS; AND AN ABUNDANCE OF PORTRAITS,
+FAC-SIMILE MUSICAL AUTOGRAPHS,
+AND COMPOSITIONS
+
+
+By
+
+Rupert Hughes, M.A.
+
+
+_ILLUSTRATED_
+
+
+Boston
+L.C. Page and Company
+(Incorporated)
+1900
+
+_Copyright, 1900_
+BY L.C. PAGE & COMPANY
+(INCORPORATED)
+
+_All rights reserved_
+
+Colonial Press
+Electrotyped and Printed by C.H. Simonds & Co.
+Boston, U.S.A.
+
+
+
+
+TO
+
+James Huneker
+
+MUSICIAN TO THE TIP OF HIS PEN
+
+
+
+
+FOREWORD.
+
+
+One day there came into Robert Schumann's ken the work of a young
+fellow named Brahms, and the master cried aloud in the wilderness,
+"Behold, the new Messiah of music!" Many have refused to accept Brahms
+at this rating, and I confess to being one of the unregenerate, but
+the spirit that kept Schumann's heart open to the appeal of any
+stranger, that led him into instant enthusiasms of which he was
+neither afraid nor ashamed, enthusiasms in which the whole world has
+generally followed his leading--that spirit it is that proves his true
+musicianship, and makes him a place forever among the great critics
+of music,--a small, small crowd they are, too.
+
+It is inevitable that a pioneer like Schumann should make many
+mistakes, but he escaped the one great fatal mistake of those who are
+not open to conviction, nor alert for new beauty and fresh truth, who
+are willing to take art to their affections or respect only when it
+has lost its bloom and has been duly appraised and ticketed by other
+generations or foreign scholars. And yet, even worse than this
+languorous inanition is the active policy of those who despise
+everything contemporary or native, and substitute sciolism for
+catholicity, contempt for analysis.
+
+While the greater part of the world has stayed aloof, the problem of a
+national American music has been solving itself. Aside from
+occasional attentions evoked by chance performances, it may be said in
+general that the growth of our music has been unloved and unheeded by
+anybody except a few plodding composers, their wives, and a retainer
+or two. The only thing that inclines me to invade the privacy of the
+American composer and publish his secrets, is my hearty belief, lo,
+these many years! that some of the best music in the world is being
+written here at home, and that it only needs the light to win its meed
+of praise.
+
+Owing to the scarcity of printed matter relating to native composers,
+and the utter incompleteness and bias of what exists, I have based
+this book almost altogether on my own research. I studied the
+catalogues of all the respectable music publishers, and selected such
+composers as seemed to have any serious intentions. When I heard of a
+composer whose work, though earnest, had not been able to find a
+publisher, I sought him out and read his manuscripts (a hideous task
+which might be substituted for the comparative pastime of breaking
+rocks, as punishment for misdemeanors). In every case I secured as
+many of each composer's works as could be had in print or in
+manuscript, and endeavored to digest them. Thousands of pieces of
+music, from short songs to operatic and orchestral scores, I studied
+with all available conscience. The fact that after going through at
+least a ton of American compositions, I am still an enthusiast, is
+surely a proof of some virtue in native music.
+
+A portion of the result of this study was published _au courant_ in a
+magazine, awakening so much attention that I have at length decided to
+yield to constant requests and publish the articles in more accessible
+form. The necessity for revising many of the opinions formed hastily
+and published immediately, the possibility now of taking the work of
+our musicians in some perspective, and the opportunity of bringing my
+information up to date, have meant so much revision, excision, and
+addition, that this book is really a new work.
+
+The biographical data have been furnished in practically every case by
+the composers themselves, and are, therefore, reliable in everything
+except possibly the date of birth. The critical opinions gain their
+possibly dogmatic tone rather from a desire for brevity than from any
+hope--or wish--that they should be swallowed whole. No attempt to set
+up a standard of comparative merit or precedence has been made, though
+it is inevitable that certain music-makers should interest one more
+than certain others even more worthy in the eyes of eminent judges.
+
+It may be that some inspectors of this book will complain of the
+omission of names they had expected to find here. Others will feel a
+sense of disproportion. To them there is no reply but a pathetic
+allusion to the inevitable incompleteness and asymmetry of all things
+human.
+
+Many will look with skepticism at the large number of composers I have
+thought worthy of inclusion. I can only say that the fact that an
+artist has created one work of high merit makes him a good composer in
+my opinion, whether or no he has ever written another, and whether or
+no he has afterward fallen into the sere and yellow school of trash.
+So Gray's fame is perennial,--one poem among many banalities.
+
+Besides, I do not concur in that most commonplace fallacy of
+criticism, the belief that not more than one genius is vouchsafed to
+any one period of an art, though this opinion can be justified, of
+course, by a very exclusive definition of the word genius. To the
+average mind, for instance, the whole literary achievement of the
+Elizabethan era is condensed into the name of Shakespeare.
+Contemporary with him, however, there were, of course, thirty or forty
+writers whose best works the scholar would be most unwilling to let
+die. There were, for instance, a dozen playwrights, like Jonson,
+Fletcher, Ford, Marlowe, and Greene, in whose works can be found
+literary and dramatic touches of the very highest order. There were
+poets less prolific than Spenser, and yet to be credited with a few
+works of the utmost beauty, minor geniuses like Ralegh, Sidney, Lodge,
+Shirley, Lyly, Wotton, Wither, John Donne, Bishop Hall, Drayton,
+Drummond, Herbert, Carew, Herrick, Breton, Allison, Byrd, Dowland,
+Campion--so one might run on without naming one man who had not
+written something the world was better for.
+
+All periods of great art activity are similarly marked by a large
+number of geniuses whose ability is not disproved, because
+overshadowed by the presence of some titanic contemporary. It would be
+a mere impertinence to state such an axiom of art as this, were it not
+the plain truth that almost all criticism of contemporaries is based
+upon an arrant neglect of it; and if it were not for the fact that I
+am about to string out a long, long list of American music-makers
+whose ability I think noteworthy,--a list whose length may lead many a
+wiseacre to pull a longer face.
+
+Parts of this book have been reprinted from _Godey's Magazine_, the
+_Century Magazine_, and the _Criterion_, to whose publishers I am
+indebted for permission. For the music reproduced here I have to
+thank the publishers whose copyrights were loaned for the occasion.
+
+If the book shall only succeed in arousing in some minds an interest
+or a curiosity that shall set them to the study of American music (as
+I have studied it, with infinite pleasure), then this fine white paper
+and this beautiful black ink will not have been wasted.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+
+FOREWORD                                                           vii
+
+A GENERAL SURVEY                                                    11
+
+THE INNOVATORS                                                      34
+
+THE ACADEMICS                                                      145
+
+THE COLONISTS                                                      267
+
+THE WOMEN COMPOSERS                                                423
+
+THE FOREIGN COMPOSERS                                              442
+
+POSTLUDE                                                           447
+
+INDEX                                                              449
+
+
+
+
+LIST OF MUSIC.
+
+
+                                                                  PAGE
+
+AUTOGRAPH OF EDWARD MACDOWELL                                       34
+
+"CLAIR DE LUNE," BY EDWARD MACDOWELL                                46
+
+AUTOGRAPH OF EDGAR STILLMAN KELLEY                                  58
+
+"ISRAFEL" (fragment), BY EDGAR STILLMAN KELLEY                      74
+
+AUTOGRAPH OF HARVEY WORTHINGTON LOOMIS                              77
+
+"SANDALPHON" (fragment), BY H.W. LOOMIS                             82
+
+AUTOGRAPH OF ETHELBERT NEVIN                                        93
+
+"HERBSTGEFUeHL" (fragment), BY ETHELBERT NEVIN                      102
+
+AUTOGRAPH OF JOHN PHILIP SOUSA                                     112
+
+A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA                     127
+
+AUTOGRAPH OF JOHN K. PAINE                                         145
+
+POSTLUDE TO "OEDIPUS TYRANNUS," BY JOHN K. PAINE                   158
+
+"SPRING'S AWAKENING" (fragment), BY DUDLEY BUCK                    172
+
+AUTOGRAPH OF HORATIO W. PARKER                                     174
+
+"NIGHT-PIECE TO JULIA" (fragment), BY HORATIO W. PARKER            180
+
+"DIE STUNDE SEI GESEGNET" (fragment), BY FRANK VAN DER STUCKEN     194
+
+"A LOVE SONG" (fragment), BY W.W. GILCHRIST                        205
+
+AUTOGRAPH OF G.W. CHADWICK                                         210
+
+"FOLK SONG" (NO. 1), BY G.W. CHADWICK                              216
+
+AUTOGRAPH OF ARTHUR FOOTE                                          221
+
+"IT WAS A LOVER AND HIS LASS," BY ARTHUR FOOTE                     230
+
+"IDYLLE" (fragment), BY ARTHUR WHITING                             287
+
+"BALLADE" (fragment), BY HOWARD BROCKWAY                           303
+
+AUTOGRAPH OF HARRY ROWE SHELLEY                                    304
+
+"SPRING" (fragment), BY GERRIT SMITH                               314
+
+"WHEN LOVE IS GONE," BY C.B. HAWLEY                                330
+
+"SONG FROM OMAR KHAYYAM," BY VICTOR HARRIS                         339
+
+"HYMN OF PAN" (fragment), FRED FIELD BULLARD                       352
+
+"PEACE," BY HOMER A. NORRIS                                        362
+
+AUTOGRAPH OF G.W. MARSTON                                          367
+
+EXCERPT FROM AN ORCHESTRAL SCORE, BY F.G. GLEASON                  378
+
+"IDYLLE" (fragment), BY WILLIAM H. SHERWOOD                        385
+
+AUTOGRAPH OF WILSON G. SMITH                                       395
+
+"ARABESQUE," BY WILSON G. SMITH                                    404
+
+FRAGMENT OF THE SCORE OF "SALAMMBO," BY JOHANN H. BECK             408
+
+AUTOGRAPH OF JAMES H. ROGERS                                       412
+
+"BLACK RIDERS" (fragment), BY WILLIAM SCHUYLER                     416
+
+"PHANTOMS" (fragment), BY MRS. H.H.A. BEACH                        429
+
+"GHOSTS," BY MARGARET RUTHVEN LANG                                 436
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+
+Edward MacDowell                                        _Frontispiece_
+
+Edgar Stillman Kelley                                               57
+
+Harvey Worthington Loomis                                           77
+
+Ethelbert Nevin                                                     92
+
+John Philip Sousa                                                  112
+
+Henry Schoenefeld                                                  128
+
+John Knowles Paine                                                 145
+
+Horatio W. Parker                                                  174
+
+Frank van der Stucken                                              188
+
+George Whitefield Chadwick                                         210
+
+Arthur Foote                                                       221
+
+Henry K. Hadley                                                    241
+
+Adolph M. Foerster                                                 248
+
+Charles Crozat Converse                                            256
+
+Louis Adolphe Coerne                                               262
+
+Henry Holden Huss                                                  291
+
+Harry Rowe Shelley                                                 304
+
+Frederick Field Bullard                                            351
+
+Homer A. Norris                                                    357
+
+Frederic Grant Gleason                                             367
+
+William H. Sherwood                                                383
+
+A.J. Goodrich                                                      388
+
+Wilson G. Smith                                                    395
+
+Mrs. H.H.A. Beach                                                  426
+
+Margaret Ruthven Lang                                              432
+
+
+
+
+CONTEMPORARY AMERICAN COMPOSERS.
+
+
+
+
+CHAPTER I.
+
+A GENERAL SURVEY.
+
+
+Coddling is no longer the chief need of the American composer. While
+he still wants encouragement in his good tendencies,--much more
+encouragement than he gets, too,--he is now strong enough to profit by
+the discouragement of his evil tendencies.
+
+In other words, the American composer is ready for criticism.
+
+The first and most vital flaw of which his work will be accused is the
+lack of nationalism. This I should like to combat after the sophistic
+fashion of Zeno,--showing, first, why we lack that desideratum, a
+strictly national school; secondly, that a strictly national school is
+not desirable; and thirdly, that we most assuredly have a national
+school.
+
+In building a national individuality, as in building a personal
+individuality, there is always a period of discipleship under some
+older power. When the rudiments and the essentials are once thoroughly
+mastered, the shackles of discipleship are thrown off, and personal
+expression in an original way begins. This is the story of every
+master in every art: The younger Raphael was only Perugino junior.
+Beethoven's first sonatas were more completely Haydn's than the word
+"gewidmet" would declare. The youthful Canova was swept off his feet
+by the unearthing of old Greek masterpieces. Stevenson confesses
+frankly his early efforts to copy the mannerisms of Scott and others.
+Nations are only clusters of individuals, and subject to the same
+rules. Italy borrowed its beginnings from Byzantium; Germany and
+France took theirs from Italy; we, ours, from them.
+
+It was inconceivable that America should produce an autocthonous art.
+The race is one great mixture of more or less digested foreign
+elements; and it is not possible to draw a declaration of artistic, as
+of political, independence, and thenceforward be truly free.
+
+Centuries of differentiated environment (in all the senses of the word
+environment) are needed to produce a new language or a new art; and it
+was inevitable that American music should for long be only a more or
+less successful employment of European methods. And there was little
+possibility, according to all precedents in art history, that any
+striking individuality should rise suddenly to found a school based
+upon his own mannerism.
+
+Especially was this improbable, since we are in a large sense of
+English lineage. As the co-heirs, with those who remain in the British
+Isles, of the magnificent prose and poetry of England, it was possible
+for us to produce early in our own history a Hawthorne and a Poe and
+an Emerson and a Whitman. But we have had more hindrance than help
+from our heritage of English music, in which there has never been a
+master of the first rank, Purcell and the rest being, after all,
+brilliants of the lesser magnitude (with the permission of that
+electric Englishman, Mr. John F. Runciman).
+
+A further hindrance was the creed of the Puritan fathers of our
+civilization; they had a granite heart, and a suspicious eye for
+music. Here is a cheerful example of congregational lyricism, and a
+lofty inspiration for musical treatment (the hymn refers to the fate
+of unbaptized infants):
+
+    "A crime it is! Therefore in Bliss
+      You may not hope to dwell;
+    But unto you I shall allow
+      The easiest room in Hell."
+
+It was only at the end of the seventeenth century that singing by
+note began to supplant the "lining-out" barbarism, and to provoke such
+fierce opposition as this:
+
+    "First, it is a new way--an unknown tongue; 2d, it is not so
+    melodious as the old way; 3d, there are so many tunes that
+    nobody can learn them; 4th, the new way makes a disturbance
+    in churches, grieves good men, exasperates them, and causes
+    them to behave disorderly; 5th, it is popish; 6th, it will
+    introduce instruments; 7th, the names of the notes are
+    blasphemous; 8th, it is needless, the old way being good
+    enough; 9th, it requires too much time to learn it; 10th, it
+    makes the young disorderly."
+
+At the time when such puerility was disturbing this cradle of freedom
+and cacophony, Bach and Haendel were at work in their contrapuntal
+webs, the Scarlattis, Corelli and Tartini and Porpora were alive.
+Peri, Josquin and Willaert and Lassus were dead, and the church had
+had its last mass from the most famous citizen of the town of
+Palestrina. Monteverde was no longer inventing like an Edison; Lulli
+had gone to France and died; and Rameau and Couperin were alive.
+
+At this time in the world's art, the Americans were squabbling over
+the blasphemy of instruments and of notation! This is not the place to
+treat the history of our music. The curious can find enlightenment at
+such sources as Mr. Louis C. Elson's "National Music of America." It
+must be enough for me to say that the throttling hands of Puritanism
+are only now fully loosened. Some of our living composers recall the
+parental opposition that met their first inclinations to a musical
+career, opposition based upon the disgracefulness, the heathenishness,
+of music as a profession.
+
+The youthfulness of our school of music can be emphasized further by a
+simple statement that, with the exception of a few names like Lowell
+Mason, Louis Moreau Gottschalk, Stephen A. Emery (a graceful writer as
+well as a theorist), and George F. Bristow, practically every American
+composer of even the faintest importance is now living.
+
+The influences that finally made American music are chiefly German.
+Almost all of our composers have studied in Germany, or from teachers
+trained there; very few of them turning aside to Paris, and almost
+none to Italy. The prominent teachers, too, that have come from
+abroad have been trained in the German school, whatever their
+nationality. The growth of a national school has been necessarily
+slow, therefore, for its necessary and complete submission to German
+influences.
+
+It has been further delayed by the meagre native encouragement to
+effort of the better sort. The populace has been largely
+indifferent,--the inertia of all large bodies would explain that. A
+national, a constructive, and collaborative criticism has been
+conspicuously absent.
+
+The leaders of orchestras have also offered an almost insurmountable
+obstacle to the production of any work from an American hand until
+very recently. The Boston Symphony Orchestra has been a noble
+exception to this rule, and has given about the only opening possible
+to the native writer. The Chicago Orchestra, in eight seasons under
+Theodore Thomas, devoted, out of a total of 925 numbers, only
+eighteen, or something less than two per cent., to native music. Yet
+time shows a gradual improvement, and in 1899, out of twenty-seven
+orchestral numbers performed, three were by Americans, which makes a
+liberal tithe. The Boston Symphony has played the compositions of John
+Knowles Paine alone more than eighteen times, and those of George W.
+Chadwick the same number, while E.A. MacDowell and Arthur Foote each
+appeared on the programs fourteen times. The Kaltenborn Orchestra has
+made an active effort at the promulgation of our music, and especial
+honor is due to Frank Van der Stucken, himself a composer of marked
+abilities; he was among the first to give orchestral production to
+American works, and he was, perhaps, the very first to introduce
+American orchestral work abroad. Like his offices, in spirit and
+effect, have been the invaluable services of our most eminent pianist,
+Wm. H. Sherwood, who was for many years the only prominent performer
+of American piano compositions.
+
+Public singers also have been most unpatriotic in preferring endless
+repetition of dry foreign arias to fresh compositions from home. The
+little encore song, which generally appeared anonymously, was the
+opening wedge for the American lyrist.
+
+Upon the horizon of this gloom, however, there is a tremor of a
+dawning interest in national music. Large vocal societies are giving
+an increasing number of native part songs and cantatas; prizes are
+being awarded in various places, and composers find some financial
+encouragement for appearing in concerts of their own work. Manuscript
+societies are organized in many of the larger cities, and these clubs
+offer hearing to novelty. There have latterly appeared, from various
+publishers, special catalogues vaunting the large number of American
+composers represented on their lists.
+
+Another, and a most important sign of the growing influence of music
+upon American life, is seen in the place it is gaining in the college
+curriculum; new chairs have been established, and prominent composers
+called to fill them, or old professorships that held merely nominal
+places in the catalogue have been enlarged in scope. In this way music
+is reestablishing itself in something like its ancient glory; for the
+Greeks not only grouped all culture under the general term of
+"Music," but gave voice and instrument a vital place in education.
+Three of our most prominent composers fill the chairs at three of the
+most important universities. In all these cases, however, music is an
+elective study, while the rudiments of the art should, I am convinced,
+be a required study in every college curriculum, and in the common
+schools as well.
+
+Assuming then, for the nonce, the birth--we are too new a country to
+speak of a Renascence--of a large interest in national music, there is
+large disappointment in many quarters, because our American music is
+not more American. I have argued above that a race transplanted from
+other soils must still retain most of the old modes of expression, or,
+varying them, change slowly. But many who excuse us for the present
+lack of a natural nationalism, are so eager for such a differentiation
+that they would have us borrow what we cannot breed.
+
+The folk-music of the negro slaves is most frequently mentioned as the
+right foundation for a strictly American school. A somewhat
+misunderstood statement advanced by Dr. Antonin Dvorak, brought this
+idea into general prominence, though it had been discussed by American
+composers, and made use of in compositions of all grades long before
+he came here.
+
+The vital objection, however, to the general adoption of negro music
+as a base for an American school of composition is that it is in no
+sense a national expression. It is not even a sectional expression,
+for the white Southerners among whose slaves this music grew, as well
+as the people of the North, have always looked upon negro music as an
+exotic and curious thing. Familiar as it is to us, it is yet as
+foreign a music as any Tyrolean jodel or Hungarian czardas.
+
+The music of the American Indian, often strangely beautiful and
+impressive, would be as reasonably chosen as that of these imported
+Africs. E.A. MacDowell had, indeed, written a picturesque and
+impressive Indian suite, some time before the Dvorakian invasion. He
+asserts that the Indian music is preferable to the Ethiopian, because
+its sturdiness and force are more congenial with the national mood.
+
+But the true hope for a national spirit in American music surely lies,
+not in the arbitrary seizure of some musical dialect, but in the
+development of just such a quality as gives us an individuality among
+the nations of the world in respect to our character as a people; and
+that is a Cosmopolitanism made up of elements from all the world, and
+yet, in its unified qualities, unlike any one element. Thus our music
+should, and undoubtedly will, be the gathering into the spirit of the
+voices of all the nations, and the use of all their expressions in an
+assimilated, a personal, a spontaneous manner. This need not, by any
+means, be a dry, academic eclecticism. The Yankee, a composite of all
+peoples, yet differs from them all, and owns a sturdy individuality.
+His music must follow the same fate.
+
+As our governmental theories are the outgrowth of the experiments and
+experiences of all previous history, why should not our music, voicing
+as it must the passions of a cosmopolitan people, use cosmopolitan
+expressions? The main thing is the individuality of each artist. To be
+a citizen of the world, provided one is yet spontaneous and sincere
+and original, is the best thing. The whole is greater than any of its
+parts.
+
+Along just these lines of individualized cosmopolitanism the American
+school is working out its identity. Some of our composers have shown
+themselves the heirs of European lore by work of true excellence in
+the larger classic and romantic forms.
+
+The complaint might be made, indeed, that the empty, incorrect period
+of previous American music has given place to too much correctness and
+too close formation on the old models. This is undoubtedly the result
+of the long and faithful discipleship under German methods, and need
+not be made much of in view of the tendency among a few masters toward
+original expression. For, after all, even in the heyday of the
+greatest art periods, only a handful of artists have ever stood out as
+strongly individual; the rest have done good work as faithful
+imitators and past masters in technic. It is, then, fortunate that
+there is any tendency at all among any of our composers to forsake
+academic content with classical forms and text-book development of
+ideas.
+
+Two things, however, are matters for very serious disappointment: the
+surprising paucity of musical composition displaying the national
+sense of humor, and the surprising abundance of purest namby-pamby.
+The presence of the latter class might be explained by the absence of
+the former, for namby-pamby cannot exist along with a healthy sense
+of the ludicrous. There has been a persistent craze among native
+song-writers for little flower-dramas and bird-tragedies, which,
+aiming at exquisiteness, fall far short of that dangerous goal and
+land in flagrant silliness. This weakness, however, will surely
+disappear in time, or at least diminish, until it holds no more
+prominent place than it does in all the foreign schools, where it
+exists to a certain extent.
+
+The scherzo, however, must grow in favor. It is impossible that the
+most jocose of races, a nation that has given the world an original
+school of humor, should not carry this spirit over into its music. And
+yet almost none of the comparatively few scherzos that have been
+written here have had any sense of the hilarious jollity that makes
+Beethoven's wit side-shaking. They have been rather of the Chopinesque
+sort, mere fantasy. To the composers deserving this generalization I
+recall only two important exceptions, Edgar S. Kelley and Harvey
+Worthington Loomis.
+
+The opportunities before the American composer are enormous, and only
+half appreciated. Whereas, in other arts, the text-book claims only to
+be a chronicle of what has been done before, in music the text-book is
+set up as the very gospel and decalogue of the art. The theorists have
+so thoroughly mapped out the legitimate resources of the composer, and
+have so prescribed his course in nearly every possible position, that
+music is made almost more of a mathematical problem than the free
+expression of emotions and aesthetics. "Correct" music has now hardly
+more liberty than Egyptian sculpture or Byzantine painting once had.
+Certain dissonances are permitted, and certain others, no more
+dissonant, forbidden, quite arbitrarily, or on hair-splitting
+theories. It is as if one should write down in a book a number of
+charts, giving every scheme of color and every juxtaposition of values
+permissible to a painter. The music of certain Oriental nations, in
+which the religious orders are the art censors, has stuck fast in its
+rut because of the observance of rules purely arbitrary. Many of the
+conventions of modern European music are no more scientific or
+original or consistent; most of them are based upon the principle that
+the whim of a great dead composer is worthy to be the law of any
+living composer. These Blue Laws of music are constantly assailed
+surreptitiously and in detail; and yet they are too little attacked as
+a whole. But music should be a democracy and not an aristocracy, or,
+still less, a hierarchy.
+
+There is a great opportunity for America to carry its political
+principles into this youngest of the arts. It is a gratifying sign
+that one of the most prominent theorists of the time, an American
+scholar, A.J. Goodrich, is adopting some such attitude toward music.
+He carries dogma to the minimum, and accepts success in the individual
+instance as sufficient authority for overstepping any general
+principle. He refers to a contemporary American composer for authority
+and example of some successful unconventionality with the same respect
+with which he would quote a European's disregard of convention. His
+pioneering is watched with interest abroad as well as here.
+
+Worthy of mention along with Mr. Goodrich' original work is the effort
+of Homer A. Norris to instil French ideas of musical theory. As a
+counterweight to the German monopoly of our attention, his influence
+is to be cordially welcomed.
+
+Now that Americanism is rife in the land, some of the glowing interest
+in things national might well be turned toward an art that has been
+too much and too long neglected among us.
+
+The time has come to take American music seriously. The day for
+boasting is not yet here,--if indeed it ever comes; but the day of
+penitent humility is surely past.
+
+A student of the times, Mr. E.S. Martin, shortly before the Spanish
+War, commented on the radical change that had come over the spirit of
+American self-regard. We were notorious in the earlier half of the
+century for boasting, not only of the virtues we indubitably had, but
+of qualities that existed solely in our own imagination. We sounded
+our barbaric yawp over the roofs of the world. A century of almost
+unanimous European disapproval, particularly of our artistic estate,
+finally converted us from this attitude to one of deprecation almost
+abject. Having learned the habit of modesty, it has clung to us even
+now, when some of the foremost artists in the world are Americans.
+
+Modesty, is, of course, one of the most beautiful of the virtues, but
+excess is possible and dangerous. As Shakespeare's Florio's Montaigne
+has it: "We may so seize on vertue, that if we embrace it with an
+over-greedy and violent desire, it may become vitious." In the case of
+the American composer it is certainly true that we "excessively
+demeane ourselves in a good action." If, then, the glory of our late
+successes in the field of battle shall bring about a recrudescence of
+our old vanity, it will at least have its compensations.
+
+Meanwhile, the American artist, having long ago ceased to credit
+himself with all the virtues, has been for years earnestly working out
+his own salvation in that spirit of solemn determination which makes
+it proverbial for the American to get anything he sets his heart on.
+He has submitted himself to a devout study of the Old Masters and the
+New; he has made pilgrimage after pilgrimage to the ancient temples of
+art, and has brought home influences that cannot but work for good.
+The American painter has won more European acceptance than any of our
+other artists, though this is partly due to his persistence in
+knocking at the doors of the Paris salons, and gaining the universal
+prestige of admission there. There is, unfortunately, no such place
+to focus the attention of the world on a musician. Yet, through the
+success of American musical students among their rivals abroad;
+through the concerts they are giving more and more frequently in
+foreign countries; through the fact that a number of European music
+houses are publishing increasing quantities of American compositions,
+he is making his way to foreign esteem almost more rapidly than at
+home.
+
+A prominent German critic, indeed, has recently put himself on record
+as accepting the founding of an American school of music as a _fait
+accompli_. And no student of the times, who will take the trouble to
+seek the sources of our art, and observe its actual vitality, need be
+ashamed of looking at the present state of music in America with a
+substantial pride and a greater hope for the future.
+
+
+
+
+CHAPTER II.
+
+THE INNOVATORS.
+
+
+_Edward Alexander MacDowell._
+
+[Illustration: Autograph of Edward MacDowell]
+
+The matter of precedence in creative art is as hopeless of solution as
+it is unimportant. And yet it seems appropriate to say, in writing of
+E.A. MacDowell, that an almost unanimous vote would grant him rank as
+the greatest of American composers, while not a few ballots would
+indicate him as the best of living music writers.
+
+But this, to repeat, is not vital, the main thing being that MacDowell
+has a distinct and impressive individuality, and uses his profound
+scholarship in the pursuit of novelty that is not cheaply sensational,
+and is yet novelty. He has, for instance, theories as to the textures
+of sounds, and his chord-formations and progressions are quite his
+own.
+
+His compositions are superb processions, in which each participant is
+got up with the utmost personal splendor. His generalship is great
+enough to preserve the unity and the progress of the pageant. With him
+no note in the melody is allowed to go neglected, ill-mounted on
+common chords in the bass, or cheap-garbed in trite triads. Each tone
+is made to suggest something of its multitudinous possibilities.
+Through any geometrical point, an infinite number of lines can be
+drawn. This is almost the case with any note of a melody. It is the
+recognition and the practice of this truth that gives the latter-day
+schools of music such a lusciousness and warmth of harmony. No one is
+a more earnest student of these effects than MacDowell.
+
+He believes that it is necessary, at this late day, if you would have
+a chord "bite," to put a trace of acid in its sweetness. With this
+clue in mind, his unusual procedures become more explicable without
+losing their charm.
+
+New York is rather the Mecca than the birthplace of artists, but it
+can boast the nativity of MacDowell, who improvised his first songs
+here December 18, 1861. He began the study of the piano at an early
+age. One of his teachers was Mme. Teresa Carreno, to whom he has
+dedicated his second concerto for the piano.
+
+In 1876 he went to Paris and entered the Conservatoire, where he
+studied theory under Savard, and the piano under Marmontel. He went to
+Wiesbaden to study with Ehlert in 1879, and then to Frankfort, where
+Carl Heyman taught him piano and Joachim Raff composition. The
+influence of Raff is of the utmost importance in MacDowell's music,
+and I have been told that the great romancist made a _protege_ of him,
+and would lock him in a room for hours till he had worked out the most
+appalling musical problems. Through Raff's influence he became first
+piano teacher at the Darmstadt Conservatorium in 1881. The next year
+Raff introduced him to Liszt, who became so enthusiastic over his
+compositions that he got him the honor of playing his first piano
+suite before the formidable _Allgemeiner Deutscher Musik Verein_,
+which accorded him a warm reception. The following years were spent in
+successful concert work, till 1884, when MacDowell settled down to
+teaching and composing in Wiesbaden. Four years later he came to
+Boston, writing, teaching, and giving occasional concerts. Thence he
+returned to New York, where he was called to the professorship of
+music at Columbia University. Princeton University has given him that
+unmusical degree, Mus. Doc.
+
+MacDowell has met little or none of that critical recalcitrance that
+blocked the early success of so many masters. His works succeeded from
+the first in winning serious favor; they have been much played in
+Germany, in Vienna, St. Petersburg, Amsterdam, and Paris, one of them
+having been performed three times in a single season at Breslau.
+
+MacDowell's Scotch ancestry is always telling tales on him. The
+"Scotch snap" is a constant rhythmic device, the old scale and the old
+Scottish cadences seem to be native to his heart. Perhaps one might
+find some kinship between MacDowell and the contemporary Glasgow
+school of painters, that clique so isolated, so daring, and yet so
+earnest and solid. Says James Huneker in a monograph published some
+years ago: "His coloring reminds me at times of Grieg, but when I
+tracked the resemblance to its lair, I found only Scotch, as Grieg's
+grand-folk were Greggs, and from Scotland. It is all Northern music
+with something elemental in it, and absolutely free from the heavy,
+languorous odors of the South or the morbidezza of Poland."
+
+Some of MacDowell's most direct writing has been in the setting of the
+poems of Burns, such as "Deserted" ("Ye banks and braes o' bonnie
+Doon," op. 9), "Menie," and "My Jean" (op. 34). These are strongly
+marked by that ineffably fine melodic flavor characteristic of
+Scottish music, while in the accompaniments they admit a touch of the
+composer's own individuality. In his accompaniments it is noteworthy
+that he is almost never strictly contramelodic.
+
+The songs of opera 11 and 12 have a decided Teutonism, but he has
+found himself by opus 40, a volume of "Six Love Songs," containing
+half a dozen flawless gems it is a pity the public should not know
+more widely. A later book, "Eight Songs" (op. 47), is also a cluster
+of worthies. The lilt and sympathy of "The Robin Sings in the
+Apple-tree," and its unobtrusive new harmonies and novel effects, in
+strange accord with truth of expression, mark all the other songs,
+particularly the "Midsummer Lullaby," with its accompaniment as
+delicately tinted as summer clouds. Especially noble is "The Sea,"
+which has all the boom and roll of the deep-brooding ocean.
+
+His collections of flower-songs (op. 26) I confess not liking. Though
+they are not without a certain exquisiteness, they seem overdainty
+and wastefully frail, excepting, possibly, the "Clover" and the
+"Blue-bell." It is not at all their brevity, but their triviality,
+that vexes an admirer of the large ability that labored over them.
+They are dedicated to Emilio Agramonte, one of MacDowell's first
+prophets, and one of the earliest and most active agents for the
+recognition of the American composer.
+
+In the lyrics in opus 56 and opus 58 MacDowell has turned song to the
+unusual purposes of a landscape impressionism of places and moods
+rather than people.
+
+For men's voices there are some deftly composed numbers curiously
+devoted to lullaby subjects. The barcarolle for mixed chorus and
+accompaniment on the piano for four hands obtains a wealth of color,
+enhanced by the constant division of the voices.
+
+Studying as he did with Raff, it is but natural that MacDowell should
+have been influenced strongly toward the poetic and fantastic and
+programmatic elements that mark the "Forest Symphony" and the "Lenore
+Overture" of his master.
+
+It is hard to say just how far this descriptive music can go. The
+skill of each composer must dictate his own limits. As an example of
+successful pieces of this kind, consider MacDowell's "The Eagle." It
+is the musical realization of Tennyson's well-known poem:
+
+    "He clasps the crag with crooked hands;
+    Close to the sun in lonely lands,
+    Ring'd with the azure world, he stands.
+    The wrinkled sea beneath him crawls;
+    He watches from his mountain walls,
+    And like a thunderbolt he falls."
+
+Of course the crag and the crooked hands and the azure world must be
+granted the composer, but general exaltation and loneliness are
+expressed in the severe melody of the opening. The wrinkling and
+crawling of the sea far below are splendidly achieved in the soft,
+shimmering liquidity of the music. Then there are two abrupt, but
+soft, short chords that will represent, to the imaginative, the quick
+fixing of the eagle's heart on some prey beneath; and there follows a
+sudden precipitation down the keyboard, _fortississimo_, that
+represents the thunderous swoop of the eagle with startling effect.
+
+On the other hand, the "Moonshine" seems to be attempting too much.
+"Winter" does better, for it has a freezing stream, a mill-wheel, and
+a "widow bird." These "four little poems" of opus 32 had been preceded
+by six fine "Idylls" based on lyrics of Goethe's. The first, a forest
+scene, has a distinct flavor of the woods, the second is all laziness
+and drowsiness, and the third is moonlight mystery. The fourth is as
+intense in its suppressed spring ecstasy as the radiant poem itself
+singing how
+
+    "Soft the ripples spill and hurry
+    To the opulent embankment."
+
+The six short "Poems" (op. 31) based on poems of Heine's are
+particularly successful, especially in the excellent opportunity of
+the lyric describing the wail of the Scottish woman who plays her harp
+on the cliff, and sings above the raging of sea and wind. The third
+catches most happily the whimsicality of the poet's reminiscences of
+childhood, but hardly, I think, the contrasting depth and wildness of
+his complaint that, along with childhood's games, have vanished Faith
+and Love and Truth. In the last, however, the cheery majesty that
+realizes Heine's likening of Death to a cool night after the sultry
+day of Life, is superb.
+
+Then there are some four-hand pieces, two collections, that leave no
+excuse for clinging to the hackneyed classics or modern trash. They
+are not at all difficult, and the second player has something to
+employ his mind besides accompanying chords. They are meaty, and
+effective almost to the point of catchiness. The "Tale of the Knights"
+is full of chivalric fire and martial swing, while the "Ballad" is as
+exquisitely dainty as a peach-blossom. The "Hindoo Maiden" has a deal
+of the thoroughly Oriental color and feeling that distinguish the
+three solos of "Les Orientales," of which "Clair de Lune" is one of
+his most original and graceful writings. The duet, "In Tyrol," has a
+wonderful crystal carillon and a quaint shepherd piping a faint
+reminiscence of the Wagnerian school of shepherds. This is one of a
+series of "Moon Pictures" for four hands, based on Hans Christian
+Andersen's lore. Two concertos for piano and orchestra are dazzling
+feats of virtuosity; one of them is reviewed at length in A.J.
+Goodrich' book, "Musical Analysis." He has written also a book of
+artistic moment called "Twelve Virtuoso-Studies," and two books of
+actual gymnastics for piano practice.
+
+[Music: CLAIR DE LUNE.
+
+    La lune etait sereine et jouait sur les flots.
+    La fenetre enfin libre est ouverte a la brise;
+    La sultane regarde, et la mer qui se brise,
+    La-bas, d'un flot d'argent brode les noir ilots.
+                 (Victor Hugo, "Les Orientales.")
+
+E.A. MACDOWELL, Op. 37, No. 1.
+
+Copyright, 1889, Arthur P. Schmidt.]
+
+But MacDowell did not reach his freedom without a struggle against
+academia. His opus 10 is a piano suite published at the age of
+twenty-two, and opus 14 is another; both contain such obsolescences as
+a presto, fugue, scherzino, and the like. But for all the classic
+garb, the hands are the hands of Esau. In one of the pieces there is
+even a motto tucked, "All hope leave ye behind who enter here!" Can he
+have referred to the limbo of classicism?
+
+It is a far cry from these to the liberality that inspired the new
+impressionism of "Woodland Sketches" (op. 51) and "Sea Pieces" (op.
+55), in which he gives a legitimate musical presentation of a faintly
+perfumed "Wild Rose" or "Water Lily," but goes farther, and paints,
+with wonderful tone, the moods inspired by reverie upon the uncouth
+dignity and stoic savagery of "An Indian Lodge," the lonely New
+England twilight of "A Deserted Farm," and all the changing humors of
+the sea, majesty of sunset or star-rise, and even the lucent emerald
+of an iceberg. His "From Uncle Remus" is not so successful; indeed,
+MacDowell is not sympathetic with negro music, and thinks that if we
+are to found a national school on some local manner, we should find
+the Indian more congenial than the lazy, sensual slave.
+
+He has carried this belief into action, not only by his scientific
+interest in the collection and compilation of the folk-music of our
+prairies, but by his artistic use of actual Indian themes in one of
+his most important works, his "Indian Suite" for full orchestra, a
+work that has been often performed, and always with the effect of a
+new and profound sensation, particularly in the case of the deeply
+impressive dirge.
+
+A proof of the success of MacDowell as a writer in the large forms is
+the fact that practically all of his orchestral works are published
+in Germany and here, not only in full score, but in arrangement for
+four hands. They include "Hamlet;" "Ophelia" (op. 22); "Launcelot and
+Elaine" (op. 26), with its strangely mellow and varied use of horns
+for Launcelot, and the entrusting of the plaintive fate of "the lily
+maid of Astolat" to the string and wood-wind choirs; "The Saracens"
+and "The Lovely Alda" (op. 30), two fragments from the Song of Roland;
+and the Suite (op. 42), which has been played at least eight times in
+Germany and eleven times here.
+
+The first movement of this last is called "In a Haunted Forest." You
+are reminded of Siegfried by the very name of the thing, and the music
+enforces the remembrance somewhat, though very slightly.
+
+Everything reminds one of Wagner nowadays,--even his predecessors.
+Rudyard Kipling has by his individuality so copyrighted one of the
+oldest verse-forms, the ballad, that even "Chevy Chace" looks like an
+advance plagiarism. So it is with Wagner. Almost all later music, and
+much of the earlier, sounds Wagnerian. But MacDowell has been reminded
+of Bayreuth very infrequently in this work. The opening movement
+begins with a _sotto voce_ syncopation that is very presentative of
+the curious audible silence of a forest. The wilder moments are
+superbly instrumented.
+
+The second movement, "Summer Idyl," is delicious, particularly in the
+chances it gives the flautist. There is a fragmentary cantilena which
+would make the fortune of a comic opera. The third number, "In
+October," is particularly welcome in our music, which is strangely and
+sadly lacking in humor. There is fascinating wit throughout this
+harvest revel. "The Shepherdess' Song" is the fourth movement. It is
+not precieuse, and it is not banal; but its simplicity of pathos is a
+whit too simple. The final number, "Forest Spirits," is a brilliant
+climax. The Suite as a whole is an important work. It has detail of
+the most charming art. Best of all, it is staunchly individual. It is
+MacDowellian.
+
+While the modern piano sonata is to me anathema as a rule, there are
+none of MacDowell's works that I like better than his writings in this
+form. They are to me far the best since Beethoven, not excepting even
+Chopin's (_pace_ his greatest prophet, Huneker). They seem to me to be
+of such stuff as Beethoven would have woven had he known in fact the
+modern piano he saw in fancy.
+
+The "Sonata Tragica" (op. 45) begins in G minor, with a bigly
+passionate, slow introduction (metronomed in the composer's copy,
+[quarter-note]-50). The first subject is marked in the same copy,
+though not in the printed book, [half-note]-69, and the appealingly
+pathetic second subject is a little slower. The free fantasy is full
+of storm and stress, with a fierce pedal-point on the trilled
+leading-tone. In the reprise the second subject, which was at first in
+the dominant major, is now in the tonic major, though the key of the
+sonata is G minor. The allegro is metronomed [quarter-note]-138, and
+it is very short and very wild. Throughout, the grief is the grief of
+a strong soul; it never degenerates into whine. Its largo is like the
+tread of an AEschylean _choros_, its allegro movements are wild with
+anguish, and the occasional uplifting into the major only emphasizes
+the sombre whole, like the little rifts of clearer harmony in
+Beethoven's "Funeral March on the Death of a Hero."
+
+The last movement begins with a ringing _pomposo_, and I cannot
+explain its meaning better than by quoting Mrs. MacDowell's words:
+"Mr. MacDowell's idea was, so to speak, as follows: He wished to
+heighten the darkness of tragedy by making it follow closely on the
+heels of triumph. Therefore, he attempted to make the last movement a
+steadily progressive triumph, which, at its climax, is utterly broken
+and shattered. In doing this he has tried to epitomize the whole work.
+While in the other movements he aimed at expressing tragic details,
+in the last he has tried to generalize; thinking that the most
+poignant tragedy is that of catastrophe in the hour of triumph."
+
+The third sonata (op. 57) is dedicated to Grieg and to the musical
+exploitation of an old-time Skald reciting glorious battles, loves,
+and deaths in an ancient castle. The atmosphere of mystery and
+barbaric grandeur is obtained and sustained by means new to piano
+literature and potent in color and vigor. The sonata formula is warped
+to the purpose of the poet, but the themes have the classic ideal of
+kinship. The battle-power of the work is tremendous. Huneker calls it
+"an epic of rainbow and thunder," and Henry T. Finck, who has for many
+years devoted a part of his large ardor to MacDowell's cause, says of
+the work: "It is MacDowellish,--more MacDowellish than anything he has
+yet written. It is the work of a musical thinker. There are harmonies
+as novel as those we encounter in Schubert, Chopin, or Grieg, yet with
+a stamp of their own."
+
+The "Sonata Eroica" (op. 50) bears the legend "Flos regum Arthurus."
+It is also in G minor. The spirit of King Arthur dominates the work
+ideally, and justifies not only the ferocious and warlike first
+subject with its peculiar and influential rhythm, but the
+old-fashioned and unadorned folk-tone of the second subject. In the
+working out there is much bustle and much business of trumpets. In the
+reprise the folk-song appears in the tonic minor, taken most
+unconventionally in the bass under elaborate arpeggiations in the
+right hand. The coda, as in the other sonata, is simply a strong
+passage of climax. Arthur's supernatural nature doubtless suggested
+the second movement, with its elfin airs, its flibbertigibbet
+virtuosity, and its magic of color. The third movement might have been
+inspired by Tennyson's version of Arthur's farewell to Guinevere, it
+is such a rich fabric of grief. The finale seems to me to picture the
+Morte d'Arthur, beginning with the fury of a storm along the coast,
+and the battle "on the waste sand by the waste sea." Moments of fire
+are succeeded by exquisite deeps of quietude, and the death and
+apotheosis of Arthur are hinted with daring and complete equivalence
+of art with need.
+
+Here is no longer the tinkle and swirl of the elf dances; here is no
+more of the tireless search for novelty in movement and color. This is
+"a flash of the soul that can." Here is Beethoven _redivivus_. For
+half a century we have had so much pioneering and scientific
+exploration after piano color and tenderness and fire, that men have
+neglected its might and its tragic powers. Where is the piano-piece
+since Beethoven that has the depth, the breadth, the height of this
+huge solemnity? Chopin's sensuous wailing does not afford it.
+Schumann's complex eccentricities have not given it out. Brahms is too
+passionless. Wagner neglected the piano. It remained for a Yankee to
+find the austere peak again! and that, too, when the sonata was
+supposed to be a form as exhausted as the epic poem. But all this is
+the praise that one is laughed at for bestowing except on the graves
+of genius.
+
+The cautious Ben Jonson, when his erstwhile taproom roisterer, Will
+Shakespeare, was dead, defied "insolent Greece or haughty Rome" to
+show his superior. With such authority, I feel safe in at least
+defying the contemporary schools of insolent Russia or haughty Germany
+to send forth a better musicwright than our fellow townsman, Edward
+MacDowell.
+
+
+_Edgar Stillman Kelley._
+
+[Illustration: EDGAR STILLMAN KELLEY.]
+
+While his name is known wherever American music is known in its better
+aspects, yet, like many another American, his real art can be
+discovered only from his manuscripts. In these he shows a very
+munificence of enthusiasm, scholarship, invention, humor, and
+originality.
+
+[Illustration: Autograph of Edgar Stillman Kelley]
+
+Kelley is as thorough an American by descent as one could ask for, his
+maternal ancestors having settled in this country in 1630, his
+paternal progenitors in 1640, A.D. Indeed, one of the ancestors of
+his father made the dies for the pine-tree shilling, and a
+great-great-grandfather fought in the Revolution.
+
+Kelley began his terrestrial career April 14, 1857, in Wisconsin. His
+father was a revenue officer; his mother a skilled musician, who
+taught him the piano from his eighth year to his seventeenth, when he
+went to Chicago and studied harmony and counterpoint under Clarence
+Eddy, and the piano under Ledochowski. It is interesting to note that
+Kelley was diverted into music from painting by hearing "Blind Tom"
+play Liszt's transcription of Mendelssohn's "Midsummer Night's Dream"
+music. I imagine that this idiot-genius had very little other
+influence of this sort in his picturesque career.
+
+After two years in Chicago, Kelley went to Germany, where, in
+Stuttgart, he studied the piano with Kruger and Speidel, organ with
+Finck, composition and orchestration with Seiffritz. While in Germany,
+Kelley wrote a brilliant and highly successful concert polonaise for
+four hands, and a composition for strings.
+
+In 1880 he was back in America and settled in San Francisco, with
+whose musical life he was long and prominently identified as a
+teacher and critic. Here he wrote his first large work, the well-known
+melodramatic music to "Macbeth." A local benefactor, John Parrot, paid
+the expenses of a public performance, the great success of which
+persuaded McKee Rankin, the actor, to make an elaborate production of
+both play and music. This ran for three weeks in San Francisco to
+crowded houses, which is a remarkable record for many reasons. A
+shabby New York production at an ill-chosen theatre failed to give the
+work an advantageous hearing; but it has been played by orchestras
+several times since, and William H. Sherwood has made transcriptions
+of parts of it for piano solo.
+
+The "Macbeth" music is of such solid value that it reaches the dignity
+of a flowing commentary. Beyond and above this it is an interpretation,
+making vivid and awesome the deep import of the play, till even the
+least imaginative auditor must feel its thrill.
+
+Thus the gathering of the witches begins with a slow horror, which is
+surely Shakespeare's idea, and not the comic-opera _can-can_ it is
+frequently made. As various other elfs and terrors appear, they are
+appropriately characterized in the music, which also adds mightily to
+the terror of the murder scene. Throughout, the work is that of a
+thinker. Like much of Kelley's other music, it is also the work of a
+fearless and skilled programmatist, especially in the battle-scenes,
+where it suggests the crash of maces and swords, and the blare of
+horns, the galloping of horses, and the general din of huge battle.
+Leading-motives are much used, too, with good effect and most
+ingenious elaboration, notably the _Banquo_ motive. A certain amount
+of Gaelic color also adds interest to the work, particularly a
+stirring Gaelic march. The orchestration shows both scholarship and
+daring.
+
+An interesting subject is suggested by Kelley's experience in hunting
+out a good motif for the galloping horses of "Macbeth." He could find
+nothing suitably representative of storm-hoofed chargers till his
+dreams came to the rescue with a genuinely inspired theme. Several
+other exquisite ideas have come to him in his sleep in this way; one
+of them is set down in the facsimile reproduced herewith. On one
+occasion he even dreamed an original German poem and a fitting musical
+setting.
+
+Dr. Wm. A. Hammond, in his book on "Sleep and Its Derangements," is
+inclined to scout the possibility of a really valuable inspiration in
+sleep. He finds no satisfactory explanation for Tartini's famous
+"Devil's Sonata" or Coleridge' proverbial "Kubla Khan." He takes
+refuge in saying that at least the result could not be equal to the
+dreamer's capabilities when awake; but Kelley's "Macbeth" music was
+certainly an improvement on what he could invent out of the land of
+Nod.
+
+After composing a comic opera, which was refused by the man for whom
+it was written because it was too good, he drifted into journalism,
+and wrote reviews and critiques which show a very liberal mind capable
+of appreciating things both modern and classic.
+
+Kelley was again persuaded to write a comic opera to the artistic
+libretto, "Puritania," by C.M.S. McLellan, a brilliant satirist,
+who has since won fortune by his highly successful and frequently
+artistic burlesquery. The work won excellent praise in Boston, where
+it had one hundred performances. The work musically was not only
+conscientious, but really graceful and captivating. It received the
+most glowing encomiums from people of musical culture, and largely
+enhanced Kelley's musical reputation in its run of something over a
+year. On its tour Kelley was also the musical conductor, in which
+capacity he has frequently served elsewhere.
+
+Kelley plainly deserves preeminence among American composers for his
+devotion to, and skill in, the finer sorts of humorous music. No other
+American has written so artfully, so happily, or so ambitiously in
+this field. A humorous symphony and a Chinese suite are his largest
+works on this order.
+
+The symphony follows the life of "Gulliver in Lilliput." In
+development and intertwining of themes and in brilliance of
+orchestration, it maintains symphonic dignity, while in play of fancy,
+suggestive programmaticism, and rollicking enthusiasm it is infectious
+with wit. Gulliver himself is richly characterized with a burly,
+blustering English theme. The storm that throws him on the shores of
+Lilliput is handled with complete mastery, certain phrases picturing
+the toss of the billows, another the great roll of the boat, others
+the rattle of the rigging and the panic of the crew; and all wrought
+up to a demoniac climax at the wreck. As the stranded Gulliver falls
+asleep, the music hints his nodding off graphically. The entrance of
+the Lilliputians is perhaps the happiest bit of the whole delicious
+work. By adroit devices in instrumentation, their tiny band toots a
+minute national hymn of irresistible drollery. The sound of their wee
+hammers and the rest of the ludicrous adventures are carried off in
+unfailing good humor. The scene finally changes to the rescuing ship.
+Here a most hilarious hornpipe is interrupted by the distant call of
+Gulliver's aria, and the rescue is consummated delightfully.
+
+In nothing has Kelley showed such wanton scholarship and such
+free-reined fancy as in his Chinese suite for orchestra, "Aladdin." It
+is certainly one of the most brilliant musical feats of the
+generation, and rivals Richard Strauss in orchestral virtuosity.
+
+While in San Francisco, where, as every one knows, there is a
+transplanted corner of China, Kelley sat at the feet of certain
+Celestial cacophonists, and made himself adept. He fathomed the, to
+us, obscure laws of their theory, and for this work made a careful
+selection of Chinese musical ideas, and used what little harmony they
+approve of with most quaint and suggestive effect upon a splendid
+background of his own. The result has not been, as is usual in such
+alien mimicries, a mere success of curiosity.
+
+The work had its first accolade of genius in the wild protests of the
+music copyists, and in the downright mutiny of orchestral performers.
+
+On the first page of the score is this note: "This should be played
+with a bow unscrewed, so that the hairs hang loose--thus the bow never
+leaves the string." This direction is evidently meant to secure the
+effect of the Chinese violin, in which the string passes between the
+hair and the wood of the bow, and is played upon the under side. But
+what self-respecting violinist could endure such profanation without
+striking a blow for his fanes?
+
+The first movement of the suite is made up of themes actually learned
+from Chinese musicians. It represents the "Wedding of Aladdin and the
+Princess," a sort of sublimated "shivaree" in which oboes quawk, muted
+trumpets bray, pizzicato strings flutter, and mandolins (loved of
+Berlioz) twitter hilariously.
+
+The second movement, "A Serenade in the Royal Pear Garden," begins
+with a luxurious tone-poem of moonlight and shadow, out of which,
+after a preliminary tuning of the Chinese lute (or sam-yin), wails a
+lyric caterwaul (alternately in 2-4 and 3-4 tempo) which the Chinese
+translate as a love-song. Its amorous grotesque at length subsides
+into the majestic night. A part of this altogether fascinating
+movement came to Kelley in a dream.
+
+The third chapter is devoted to the "Flight of the Genie with the
+Palace," and there is a wonderfully vivid suggestion of his struggle
+to wrest loose the foundations of the building. At length he heaves it
+slowly in the air, and wings majestically away with it.
+
+It has always seemed to me that the purest stroke of genius in
+instrumentation ever evinced was Wagner's conceit of using tinkling
+bells to suggest leaping flames. And yet quite comparable with this
+seems Kelley's device to indicate the oarage of the genie's mighty
+wings as he disappears into the sky: liquid _glissandos_ on the upper
+harp-strings, with chromatic runs upon the elaborately divided
+violins, at length changed to sustained and most ethereally fluty
+harmonics. It is very ravishment.
+
+The last movement, "The Return and Feast of the Lanterns," is on the
+sonata formula. After an introduction typifying the opening of the
+temple gates (a gong giving the music further locale), the first theme
+is announced by harp and mandolin. It is an ancient Chinese air for
+the yong-kim (a dulcimer-like instrument). The second subject is
+adapted from the serenade theme. With these two smuggled themes
+everything contrapuntal (a fugue included) and instrumental is done
+that technical bravado could suggest or true art license. The result
+is a carnival of technic that compels the layman to wonder and the
+scholar to homage.
+
+A transcription for a piano duet has been made of this last movement.
+
+In Chinese-tone also is Kelley's most popular song, "The Lady Picking
+Mulberries," which brought him not only the enthusiasm of Americans
+but the high commendation of the Chinese themselves. It is written in
+the limited Chinese scale, with harmonies of our school; and is a
+humoresque of such catchiness that it has pervaded even London and
+Paris.
+
+This song is one of a series of six lyrics called "The Phases of
+Love," with this motive from the "Anatomy of Melancholy": "I am
+resolved, therefore, in this tragi-comedy of love, to act several
+parts, some satirically, some comically, some in a mixed tone." The
+poems are all by American poets, and the group, opus 6, is an
+invaluable addition to our musical literature. The first of the
+series, "My Silent Song," is a radiantly beautiful work, with a
+wondrous tender air to a rapturous accompaniment. The second is a
+setting of Edward Rowland Sill's perfect little poem, "Love's Fillet."
+The song is as full of art as it is of feeling and influence. "What
+the Man in the Moon Saw" is an engaging satire, "Love and Sleep" is
+sombre, and "In a Garden" is pathetic.
+
+Besides two small sketches, a waltz and a gavotte, and his own
+arrangements, for two and for four hands, of the Gaelic March in
+"Macbeth," Kelley has published only three piano pieces: opus 2, "The
+Flower Seekers," superb with grace, warm harmony, and May ecstasies;
+"Confluentia," whose threads of liquidity are eruditely, yet
+romantically, intertangled to represent the confluence of the Rhine
+and the Moselle; and "The Headless Horseman," a masterpiece of
+burlesque weirdness, representing the wild pursuit of Ichabod Crane
+and the final hurling of the awful head,--a pumpkin, some say. It is
+relieved by Ichabod's tender reminiscences of Katrina Van Tassel at
+the spinning-wheel, and is dedicated to Joseffy, the pianist, who
+lives in the region about Sleepy Hollow.
+
+To supplement his successful, humorously melodramatic setting of "The
+Little Old Woman who Went to the Market her Eggs for to Sell," Kelley
+is preparing a series of similar pieces called "Tales Retold for
+Musical Children." It will include "Gulliver," "Aladdin," and "Beauty
+and the Beast."
+
+Kelley once wrote music for an adaptation of "Prometheus Bound," made
+by the late George Parsons Lathrop for that ill-starred experiment,
+the Theatre of Arts and Letters. The same thoroughness of research
+that gave Kelley such a command of Chinese theories equipped him in
+what knowledge we have of Greek and the other ancient music. He has
+delivered a course of lectures on these subjects, and this learning
+was put to good and public use in his share in the staging of the
+novel "Ben Hur." His music had a vital part in carrying the play over
+the thin ice of sacrilege; it was so reverent and so appealing that
+the scrubwomen in the theatre were actually moved to tears during its
+rehearsal, and it gave the scene of the miraculous cure of the lepers
+a dignity that saved it from either ridicule or reproach.
+
+In the first act there is a suggestion of the slow, soft march of a
+caravan across the sand, the eleven-toned Greek and Egyptian scale
+being used. In the tent of the Sheik, an old Arabian scale is
+employed. In the elaborate ballets and revels in the "Grove of Daphne"
+the use of Greek scales, Greek progressions (such as descending
+parallel fourths long forbidden by the doctors of our era), a
+trimetrical grouping of measures (instead of our customary fourfold
+basis), and a suggestion of Hellenic instruments,--all this lore has
+not robbed the scene in any sense of an irresistible brilliance and
+spontaneity. The weaving of Arachne's web is pictured with especial
+power. Greek traditions have, of course, been used only for
+occasional impressionisms, and not as manacles. Elaborately colored
+modern instrumentation and all the established devices from canon up
+are employed. A piano transcription of part of the music is promised.
+The "Song of Iras" has been published. It is full of home-sickness,
+and the accompaniment (not used in the production) is a wonderwork of
+color.
+
+[Music:
+
+    Tottering above
+    In her highest noon
+    The enamoured moon blushes with love
+    While to listen
+    The red levin
+    With the rapid pleiads even
+    Which were seven
+    Pauses in heaven!
+    Pauses in heaven!
+    And they say the starry choir
+    And the other listening things,
+    That Israfel's fire is owing to that lyre
+    By which he sits and sings
+    The trembling living wire
+    Of those unusual strings
+    Of those unusual strings.
+
+By permission.
+
+FRAGMENT OF "ISRAFEL," BY EDGAR S. KELLEY.]
+
+Kelley has two unpublished songs that show him at his best, both
+settings of verse by Poe,--"Eldorado," which vividly develops the
+persistence of the knight, and "Israfel." This latter poem, as you
+know, concerns the angel "whose heart-strings are a lute." After a
+rhapsody upon the cosmic spell of the angel's singing, Poe, with a
+brave defiance, flings an implied challenge to him. The verse marks
+one of the highest reaches of a genius honored abroad as a world-great
+lyrist. It is, perhaps, praise enough, then, to say that Kelley's
+music flags in no wise behind the divine progress of the words. The
+lute idea dictates an arpeggiated accompaniment, whose harmonic beauty
+and courage is beyond description and beyond the grasp of the mind at
+the first hearing. The bravery of the climax follows the weird and
+opiate harmonies of the middle part with tremendous effect. The song
+is, in my fervent belief, a masterwork of absolute genius, one of the
+very greatest lyrics in the world's music.
+
+
+_Harvey Worthington Loomis._
+
+[Illustration: HARVEY WORTHINGTON LOOMIS.]
+
+[Illustration: Autograph of Harvey Worthington Loomis]
+
+In the band of pupils that gathered to the standard of the invader,
+Antonin Dvorak, when, in 1892, he came over here from Macedonia to
+help us, some of the future's best composers will probably be found.
+
+Of this band was Harvey Worthington Loomis, who won a three years'
+scholarship in Doctor Dvorak's composition class at the National
+Conservatory, by submitting an excellent, but rather uncharacteristic,
+setting of Eichendorff's "Fruehlingsnacht." Loomis evidently won
+Doctor Dvorak's confidence, for among the tasks imposed on him was a
+piano concerto to be built on the lines of so elaborate a model as
+Rubinstein's in D minor. When Loomis' first sketches showed an
+elaboration even beyond the complex pattern, Dvorak still advised him
+to go on. To any one that knows the ways of harmony teachers this will
+mean much.
+
+Loomis (who was born in Brooklyn, February 5, 1865, and is now a
+resident of New York) pursued studies in harmony and piano in a
+desultory way until he entered Doctor Dvorak's class. For his musical
+tastes he was indebted to the artistic atmosphere of his home.
+
+Though Loomis has written something over five hundred compositions,
+only a few works have been published, the most important of which are
+"Fairy Hill," a cantatilla for children, published in 1896 (it was
+written on a commission that fortunately allowed him liberty for not a
+little elaboration and individuality), "Sandalphon," and a few songs
+and piano pieces.
+
+A field of his art that has won his especial interest is the use of
+music as an atmosphere for dramatic expression. Of this sort are a
+number of pantomimes, produced with much applause in New York by the
+Academy of Dramatic Arts; and several musical backgrounds. The 27th of
+April, 1896, a concert of his works was given by a number of
+well-known artists.
+
+These musical backgrounds are played in accompaniment to dramatic
+recitations. Properly managed, the effect is most impressive. Feval's
+poem, "The Song of the Pear-tree," is a typically handled work. The
+poem tells the story of a young French fellow, an orphan, who goes to
+the wars as substitute for his friend Jean. After rising from rank to
+rank by bravery, he returns to his home just as his sweetheart,
+Perrine, enters the church to wed Jean. The girl had been his one
+ambition, and now in his despair he reenlists and begs to be placed in
+the thickest of danger. When he falls, they find on his breast a
+withered spray from the pear-tree under which Perrine had first
+plighted troth. On these simple lines the music builds up a drama.
+From the opening shimmer and rustle of the garden, through the
+Gregorian chant that solemnizes the drawing of the lots, and is
+interrupted by the youth's start of joy at his own luck (an abrupt
+_glissando_); through his sturdy resolve to go to war in his friend's
+place, on through many battles to his death, all is on a high plane
+that commands sympathy for the emotion, and enforces unbounded
+admiration for the art. There is a brief hint of the Marseillaise
+woven into the finely varied tapestry of martial music, and when the
+lover comes trudging home, his joy, his sudden knowledge of Perrine's
+faithlessness, and his overwhelming grief are all built over a long
+organ-point of three clangorous bride-bells. The _leit-motif_ idea is
+used with suggestive clearness throughout the work.
+
+The background to Longfellow's "Sandalphon" is so fine an arras that
+it gives the poet a splendor not usual to his bourgeois lays. The
+music runs through so many phases of emotion, and approves itself so
+original and exaltedly vivid in each that I put it well to the fore
+of American compositions.
+
+Hardly less large is the--Loomis calls it "Musical Symbolism," for
+Adelaide Ann Proctor's "The Story of the Faithful Soul." Of the
+greatest delicacy imaginable is the music (for piano, violin, and
+voice) to William Sharp's "Coming of the Prince." The "Watteau
+Pictures" are poems of Verlaine's variously treated: one as a
+head-piece to a wayward piano caprice, one to be recited during a
+picturesque waltz, the last a song with mandolin effects in the
+accompaniment.
+
+[Music:
+
+    How, erect, at the outermost gates of the City
+    Celestial he waits,
+    With his feet on the ladder of light,
+    That, crowded with angels unnumbered,
+    By Jacob was seen as he slumbered
+    Alone in the desert at night?
+    The Angels of Wind and of Fire
+    Chant only one hymn, and expire
+    With the song's irresistible stress,
+    Expire in their rapture and wonder,
+    As harp-strings are broken asunder
+    By music they throb to express.
+    But serene in the rapturous throng,
+    Unmoved by the rush of the song,
+    With eyes unimpassioned and slow,
+    Among the dead angels, the deathless
+    Sandalphon stands listening, breathless,
+    To sounds that ascend from below,...
+
+Copyright, 1896, by Edgar S. Werner.
+
+A FRAGMENT OF "SANDALPHON," BY H.W. LOOMIS.]
+
+The pantomimes range from grave to gay, most of the librettos in this
+difficult form being from the clever hand of Edwin Starr Belknap.
+"The Traitor Mandolin," "In Old New Amsterdam," "Put to the Test,"
+"Blanc et Noir," "The Enchanted Fountain," "Her Revenge," "Love and
+Witchcraft" are their names. The music is full of wit, a quality
+Loomis possesses in unusual degree. The music mimics everything from
+the busy feather-duster of the maid to her eavesdropping. Pouring
+wine, clinking glasses, moving a chair, tearing up a letter, and a
+rollicking wine-song in pantomime are all hinted with the drollest and
+most graphic programmism imaginable.
+
+Loomis has also written two burlesque operas, "The Maid of Athens" and
+"The Burglar's Bride," the libretto of the latter by his brother,
+Charles Battell Loomis, the well-known humorist. This latter contains
+some skilful parody on old fogyism.
+
+In the Violin Sonata the piano, while granting precedence to the
+violin, approaches almost to the dignity of a duet. The finale is
+captivating and brilliant, and develops some big climaxes. The work as
+a whole is really superb, and ought to be much played. There are,
+besides, a "Lyric Finale" to a sonata not yet written, and several
+songs for violin, voice, and piano.
+
+A suite for four hands, "In Summer Fields," contains some happy
+manifestations of ability, such as "A June Roundelay," "The Dryad's
+Grove," and, especially, a humoresque "Junketing," which is surely
+destined to become a classic. From some of his pantomimes Loomis has
+made excerpts, and remade them with new elaboration for two pianos,
+under the name of "Exotics." These are full of variety and of actual
+novelty, now of startling discord, now of revelatory beauty. A
+so-called "Norland Epic," freely constructed on the sonata formula, is
+one of Loomis' most brilliant and personal achievements.
+
+Loomis has an especial aptitude for writing artistic ballet-music, and
+for composing in the tone of different nationalities, particularly the
+Spanish. His pantomimes contain many irresistible dances, one of them
+including a Chinese dance alternating 4-4 with 3-4 time. His
+strikingly fleet "Harlequin" has been published.
+
+The gift of adding art to catchiness is a great one. This Loomis
+seems to have to an unusual degree, as is evidenced by the dances in
+his pantomimes and his series of six pieces "In Ballet Costume," all
+of them rich with the finest art along with a Strauss-like
+spontaneity. These include "L'Amazone," "Pirouette," "Un Pas Seul,"
+"La Coryphee," "The Odalisque," and "The Magyar." One of his largest
+works is a concert waltz, "Mi-Careme," for two pianos, with elaborate
+and extended introduction and coda.
+
+A series of Genre Pictures contains such lusciousness of felicity as
+"At an Italian Festival," and there are a number of musical moments of
+engaging charm, for instance, "N'Importe Quoi," "From a Conservatory
+Program," "A Tropical Night," a fascinating "Valsette," a nameless
+valse, and "Another Scandal," which will prove a gilt-edged
+speculation for some tardy publisher. It is brimming with the
+delicious horror of excited gossipry. An example of how thoroughly
+Loomis is invested with music--how he thinks in it--is his audacious
+scherzo, "The Town Crier," printed herewith.
+
+In songs Loomis has been most prolific. He has set twenty-two of
+Shakespeare's lyrics to music of the old English school, such as his
+uproarious "Let me the cannikin clink," and his dainty "Tell me where
+is fancy bred."
+
+"The Lark" is written in the pentatonic scale, with accompaniment for
+two flutes and a harp.
+
+In the same vein are various songs of Herrick, a lyrist whose verse
+is not usually congenial to the modern music-maker. Loomis' "Epitaph
+on a Virgin" must be classed as a success. Indeed, it reaches positive
+grandeur at its climax, wherein is woven the grim persistence of a
+tolling bell. In the same style is a clever setting of Ben Jonson's
+much music'd "To Celia."
+
+In German-tone are his veritably magnificent "Herbstnacht" and his "At
+Midnight," two studies after Franz. Heine's "Des Waldes Kapellmeister"
+has been made into a most hilarious humoresque.
+
+"Bergerie" is a dozen of Norman Gale's lyrics. "Andalusia" is a
+flamboyant duet.
+
+In Scotch songs there is a positive embarrassment of riches, Loomis'
+fancies finding especial food and freedom in this school. I find in
+these settings far more art and grace than I see even in Schumann's
+many Scotch songs, or those of any other of the Germans. "Oh, for Ane
+and Twenty" has bagpipe effects. Such flights of ecstasy as "My Wife's
+a Winsome Wee Thing," and "Bonnie Wee Thing," are simply tyrannical in
+their appeal. Then there is an irresistible "Polly Stewart;" and "My
+Peggy's Heart" is fairly ambrosial. These and several others, like
+"There Was a Bonnie Lass," could be made into an album of songs that
+would delight a whole suite of generations.
+
+A number of his songs are published: they include a "John Anderson, My
+Jo," that has no particular right to live; a ballad, "Molly," with a
+touch of art tucked into it; the beautiful "Sylvan Slumbers," and the
+quaint and fascinating "Dutch Garden."
+
+Aside from an occasional song like "Thistledown," with its brilliantly
+fleecy accompaniment, and the setting of Browning's famous "The Year'
+at the Spring," for which Loomis has struck out a superb frenzy, and a
+group of songs by John Vance Cheney, Loomis has found some of his most
+powerful inspirations in the work of our lyrist, Aldrich,--such as
+the rich carillon of "Wedded," and his "Discipline," one of the best
+of all humorous songs, a gruesome scherzo all about dead monks, in
+which the music furnishes out the grim irreverence of the words with
+the utmost waggery.
+
+Chief among the lyrics by Cheney are three "Spring Songs," in which
+Loomis has caught the zest of spring with such rapture that, once they
+are heard, the world seems poor without them in print. Loomis'
+literary culture is shown in the sure taste of his selection of lyrics
+for his music. He has marked aptitudes, too, in creative literature,
+and has an excellent idea of the arts kindred to his own, particularly
+architecture.
+
+Like Chopin, Loomis is largely occupied in mixing rich new colors on
+the inexhaustible palette of the piano. Like Chopin, he is not
+especially called to the orchestra. What the future may hold for him
+in this field (by no means so indispensable to classic repute as
+certain pedants assume) it is impossible to say. In the meantime he is
+giving most of his time to work in larger forms.
+
+If in his restless hunt for novelty, always novelty, he grows too
+original, too unconventional, this sin is unusual enough to approach
+the estate of a virtue. But his oddity is not mere sensation-mongering.
+It is his individuality. He could make the same reply to such
+criticism that Schumann made; he thinks in strange rhythms and hunts
+curious effects, because his tastes are irrevocably so ordained.
+
+But we ought to show a new genius the same generosity toward flaws
+that we extend toward the masters whose fame is won beyond the
+patronage of our petty forgiveness. And, all in all, I am impelled to
+prophesy to Loomis a place very high among the inspired makers of new
+music. His harmonies, so indefatigably searched out and polished to
+splendor, so potent in enlarging the color-scale of the piano; his
+patient building up, through long neglect and through long silence, of
+a monumental group of works and of a distinct individuality, must
+prove at some late day a source of lasting pride to his country,
+neglectful now in spite of itself. But better than his patience, than
+his courage, than his sincerity, better than that insufficient
+definition of genius,--the capacity for taking infinite pains,--is his
+inspired felicity. His genius is the very essence of felicity.
+
+
+_Ethelbert Nevin._
+
+[Illustration: ETHELBERT NEVIN.]
+
+It is refreshing to be able to chronicle the achievements of a
+composer who has become financially successful without destroying his
+claim on the respect of the learned and severe, or sacrificing his own
+artistic conscience and individuality. Such a composer is Ethelbert
+Nevin.
+
+His published writings have been altogether along the smaller lines of
+composition, and he has won an enviable place as a fervent worker in
+diamonds. None of his gems are paste, and a few have a perfection, a
+solidity, and a fire that fit them for a place in that coronet one
+might fancy made up of the richest of the jewels of the world's
+music-makers, and fashioned for the very brows of the Muse herself.
+
+[Illustration: Autograph of Ethelbert Nevin]
+
+Nevin was born in 1862, at Vineacre, on the banks of the Ohio, a few
+miles from Pittsburgh. There he spent the first sixteen years of his
+life, and received all his schooling, most of it from his father,
+Robert P. Nevin, editor and proprietor of a Pittsburgh newspaper, and
+a contributor to many magazines. It is interesting to note that he
+also composed several campaign songs, among them the popular "Our
+Nominee," used in the day of James K. Polk's candidacy. The first
+grand piano ever taken across the Allegheny Mountains was carted over
+for Nevin's mother.
+
+From his earliest infancy Nevin was musically inclined, and, at the
+age of four, was often taken from his cradle to play for admiring
+visitors. To make up for the deficiency of his little legs, he used to
+pile cushions on the pedals so that he might manipulate them from
+afar.
+
+Nevin's father provided for his son both vocal and instrumental
+instruction, even taking him abroad for two years of travel and music
+study in Dresden under Von Boehme. Later he studied the piano for two
+years at Boston, under B.J. Lang, and composition under Stephen A.
+Emery, whose little primer on harmony has been to American music
+almost what Webster's spelling-book was to our letters.
+
+At the end of two years he went to Pittsburgh, where he gave lessons,
+and saved money enough to take him to Berlin. There he spent the
+years 1884, 1885, and 1886, placing himself in the hands of Karl
+Klindworth. Of him Nevin says: "To Herr Klindworth I owe everything
+that has come to me in my musical life. He was a devoted teacher, and
+his patience was tireless. His endeavor was not only to develop the
+student from a musical standpoint, but to enlarge his soul in every
+way. To do this, he tried to teach one to appreciate and to feel the
+influence of such great minds of literature as Goethe, Schiller, and
+Shakespeare. He used to insist that a man does not become a musician
+by practising so many hours a day at the piano, but by absorbing an
+influence from all the arts and all the interests of life, from
+architecture, painting, and even politics."
+
+The effect of such broad training--enjoyed rarely enough by music
+students--is very evident in Nevin's compositions. They are never
+narrow or provincial. They are the outpourings of a soul that is not
+only intense in its activities, but is refined and cultivated in its
+expressions. This effect is seen, too, in the poems Nevin chooses to
+set to music,--they are almost without exception verses of literary
+finish and value. His cosmopolitanism is also remarkable, his songs in
+French, German, and Italian having no trace of Yankee accent and a
+great fidelity to their several races.
+
+In 1885, Hans von Buelow incorporated the best four pupils of his
+friend, Klindworth, into an artist class, which he drilled personally.
+Nevin was one of the honored four, and appeared at the unique public
+_Zuhoeren_ of that year, devoted exclusively to the works of Brahms,
+Liszt, and Raff. Among the forty or fifty studious listeners at these
+recitals, Frau Cosima Wagner, the violinist Joachim, and many other
+celebrities were frequently present.
+
+Nevin returned to America in 1887, and took up his residence in
+Boston, where he taught and played at occasional concerts.
+
+Eighteen hundred and ninety-two found him in Paris, where he taught,
+winning more pupils than here. He was especially happy in imparting to
+singers the proper _Auffassung_ (grasp, interpretation, finish) of
+songs, and coached many American and French artists for the operatic
+stage. In 1893 the restless troubadour moved on to Berlin, where he
+devoted himself so ardently to composition that his health collapsed,
+and he was exiled a year to Algiers. The early months of 1895 he
+spent in concert tours through this country. As Klindworth said of
+him, "he has a touch that brings tears," and it is in interpretation
+rather than in bravura that he excels. He plays with that unusual
+combination of elegance and fervor that so individualizes his
+composition.
+
+Desirous of finding solitude and atmosphere for composition, he took
+up his residence in Florence, where he composed his suite, "May in
+Tuscany" (op. 21). The "Arlecchino" of this work has much
+sprightliness, and shows the influence of Schumann, who made the
+harlequin particularly his own; but there is none of Chopin's
+nocturnity in the "Notturno," which presents the sussurus and the
+moonlit, amorous company of "Boccaccio's Villa." The suite includes a
+"Misericordia" depicting a midnight cortege along the Arno, and
+modelled on Chopin's funeral march in structure with its hoarse dirge
+and its rich cantilena. The best number of the suite is surely the
+"Rusignuolo," an exceedingly fluty bird-song.
+
+From Florence, Nevin went to Venice, where he lived in an old _casa_
+on the Grand Canal, opposite the Browning palazzo, and near the house
+where Wagner wrote "Tristan und Isolde." One day his man, Guido, took
+a day off, and brought to Venice an Italian sweetheart, who had lived
+a few miles from the old dream-city and had never visited it. The day
+these two spent gondoliering through the waterways, where romance
+hides in every nook, is imaginatively narrated in tone in Nevin's
+suite, "Un Giorno in Venezia," a book more handsomely published even
+than the others of his works, which have been among the earliest to
+throw off the disgraceful weeds of type and design formerly worn by
+native compositions.
+
+The Venetian suite gains a distinctly Italian color from its
+ingenuously sweet harmonies in thirds and sixths, and its frankly
+lyric nature, and "The Day in Venice" begins logically with the dawn,
+which is ushered in with pink and stealthy harmonies, then "The
+Gondoliers" have a morning mood of gaiety that makes a charming
+composition. There is a "Canzone Amorosa" of deep fervor, with
+interjections of "Io t'amo!" and "Amore" (which has the excellent
+authority of Beethoven's Sonata, op. 81, with its "Lebe wohl"). The
+suite ends deliciously with a night scene in Venice, beginning with a
+choral "Ave Maria," and ending with a campanella of the utmost
+delicacy.
+
+After a year in Venice Nevin made Paris his home for a year,
+returning to America then, where he has since remained.
+
+Though he has dabbled somewhat in orchestration, he has been wisely
+devoting his genius, with an almost Chopin-like singleness of mind, to
+songs and piano pieces. His piano works are what would be called
+_morceaux_. He has never written a sonata, or anything approaching the
+classical forms, nearer than a gavotte or two. He is very modern in
+his harmonies, the favorite colors on his palette being the warmer
+keys, which are constantly blended enharmonically. He "swims in a sea
+of tone," being particularly fond of those suspensions and inversions
+in which the intervals of the second clash passionately, strongly
+compelling resolution. For all his gracefulness and lyricism, he makes
+a sturdy and constant use of dissonance; in his song "Herbstgefuehl"
+the dissonance is fearlessly defiant of conventions.
+
+[Music:
+
+    ... Rose
+    Loeset lebenssatt.
+    Sich, das letzte lose,
+    Bleiche Blumenblatt.
+    Goldenes entfaerben,
+    Schleicht sich durch den Hain,
+    Auch vergeh'n und sterben,
+    Daeucht mir suess zu sein.
+
+    ... failing,
+    From the rose unbound,
+    Falls, its life exhaling,
+    Dead upon the ground.
+    Golden colors flying,
+    Slant from tree to tree;
+    Such release and dying,
+    Sweet would seem to me.
+
+Copyright, 1889, by G. Schirmer, Jr.
+
+A FRAGMENT FROM "HERBSTGEFUeHL."]
+
+Nevin's songs, whose only littleness is in their length, though
+treated with notable individuality, are founded in principle on the
+_Lieder_ of Schumann and Franz. That is to say, they are written with
+a high poetical feeling inspired by the verses they sing, and, while
+melodious enough to justify them as lyrics, yet are near enough to
+impassioned recitative to do justice to the words on which they are
+built. Nevin is also an enthusiastic devotee of the position these
+masters, after Schubert, took on the question of the accompaniment.
+This is no longer a slavish thumping of a few chords, now and then,
+to keep the voice on the key, with outbursts of real expression only
+at the interludes; but it is a free instrumental composition with a
+meaning of its own and an integral value, truly accompanying, not
+merely supporting and serving, the voice. Indeed, one of Nevin's best
+songs,--"Lehn deine Wang an meine Wang,"--is actually little more than
+a vocal accompaniment to a piano solo. His accompaniments are always
+richly colored and generally individualized with a strong
+contramelody, a descending chromatic scale in octaves making an
+especially frequent appearance. Design, though not classical, is
+always present and distinct.
+
+Nevin's first published work was a modest "Serenade," with a neat
+touch of syncopation, which he wrote at the age of eighteen. His
+"Sketch-Book," a collection of thirteen songs and piano pieces found
+an immediate and remarkable sale that has removed the ban formerly
+existing over books of native compositions.
+
+The contents of the "Sketch-Book" display unusual versatility. It
+opens with a bright gavotte, in which adherence to the classic spirit
+compels a certain reminiscence of tone. The second piece, a song, "I'
+the Wondrous Month o' May," has such a springtide fire and frenzy in
+the turbulent accompaniment, and such a fervent reiterance, that it
+becomes, in my opinion, the best of all the settings of this poem of
+Heine's, not excluding even Schumann's or that of Franz. The "Love
+Song," though a piano solo, is in reality a duet between two lovers.
+It is to me finer than Henselt's perfect "Liebeslied," possibly
+because the ravishing sweetness of the woman's voice answering the
+sombre plea of the man gives it a double claim on the heart. The
+setting of "Du bist wie eine Blume," however, hardly does justice
+either to Heine's poem, or to Nevin's art. The "Serenade" is an
+original bit of work, but the song, "Oh, that We Two were Maying!"
+with a voice in the accompaniment making it the duet it should
+be,--that song can have no higher praise than this, that it is the
+complete, the final musical fulfilment of one of the rarest lyrics in
+our language. A striking contrast to the keen white regret of this
+song is the setting of a group of "Children's Songs," by Robert Louis
+Stevenson. Nevin's child-songs have a peculiar and charming place. He
+has not been stingy of either his abundant art or his abundant
+humanity in writing them. They include four of Stevenson's, the best
+being the captivating "In Winter I get up at Night," and a setting of
+Eugene Field's "Little Boy Blue," in which a trumpet figure is used
+with delicate pathos.
+
+Nevin's third opus included three exquisite songs of a pastoral
+nature, Goethe's rollicking "One Spring Morning" having an immense
+sale. Opus 5 contained five songs, of which the ecstatic "'Twas April"
+reached the largest popularity. Possibly the smallest sale was enjoyed
+by "Herbstgefuehl." Many years have not availed to shake my allegiance
+to this song, as one of the noblest songs in the world's music. It is
+to me, in all soberness, as great as the greatest of the _Lieder_ of
+Schubert, Schumann or Franz. In "Herbstgefuehl" (or "Autumn-mood")
+Gerok's superb poem bewails the death of the leaves and the failing of
+the year, and cries out in sympathy:
+
+    "Such release and dying
+    Sweet would seem to me!"
+
+Deeper passion and wilder despair could not be crowded into so short a
+song, and the whole brief tragedy is wrought with a grandeur and
+climax positively epic. It is a flash of sheer genius.
+
+Three piano duets make up opus 6; and other charming works, songs,
+piano pieces, and violin solos, kept pouring from a pen whose apparent
+ease concealed a vast deal of studious labor, until the lucky 13, the
+opus-number of a bundle of "Water Scenes," brought Nevin the greatest
+popularity of all, thanks largely to "Narcissus," which has been as
+much thrummed and whistled as any topical song.
+
+Of the other "Water Scenes," there is a shimmering "Dragon Fly," a
+monody, "Ophelia," with a pedal-point of two periods on the tonic, and
+a fluent "Barcarolle" with a deal of high-colored virtuosity.
+
+His book "In Arcady" (1892) contains pastoral scenes, notably an
+infectious romp that deserves its legend, "They danced as though they
+never would grow old." The next year his opus 20, "A Book of Songs,"
+was published. It contains, among other things of merit, a lullaby,
+called "Sleep, Little Tulip," with a remarkably artistic and effective
+pedal-point on two notes (the submediant and the dominant) sustained
+through the entire song with a fine fidelity to the words and the
+lullaby spirit; a "Nocturne" in which Nevin has revealed an
+unsuspected voluptuousness in Mr. Aldrich' little lyric, and has
+written a song of irresistible climaxes. The two songs, "Dites-Moi"
+and "In der Nacht," each so completely true to the idiom of the
+language of its poem, are typical of Nevin's cosmopolitanism, referred
+to before. This same unusual ability is seen in his piano pieces as
+well as in his songs. He knows the difference between a _chanson_ and
+a _Lied_, and in "Rechte Zeit" has written with truth to German
+soldierliness as he has been sympathetic with French nuance in "Le
+Vase Brise," the effective song "Mon Desire," which in profile
+suggests Saint-Saens' familiar Delilah-song, the striking "Chanson des
+Lavandieres" and "Rapelle-Toi," one of Nevin's most elaborate works,
+in which Alfred De Musset's verse is splendidly set with much
+enharmonious color. Very Italian, too, is the "Serenade" with
+accompaniment a la mandolin, which is the most fetching number in the
+suite "Captive Memories," published in 1899.
+
+Nevin has also put many an English song to music, notably the deeply
+sincere "At Twilight," the strenuous lilt "In a Bower," Bourdillon's
+beautiful lyric, "Before the Daybreak," the smooth and unhackneyed
+treatment of the difficult stanza of "'Twas April," that popular song,
+"One Spring Morning," which has not yet had all the charm sung out of
+it, and two songs with obbligati for violin and 'cello, "Deep in the
+Rose's Glowing Heart" and "Doris," a song with a finely studied
+accompaniment and an aroma of Theokritos.
+
+A suite for the piano is "En Passant," published in 1899; it ranges
+from a stately old dance, "At Fontainebleau," to "Napoli," a furious
+tarantelle with effective _glissandi_; "In Dreamland" is a most
+delicious revery with an odd repetition that is not preludatory, but
+thematic. The suite ends with the most poetic scene of all, "At Home,"
+which makes a tone poem of Richard Hovey's word-picture of a June
+night in Washington. The depicting of the Southern moonlight-balm,
+with its interlude of a distant and drowsy negro quartette, reminds
+one pleasantly of Chopin's Nocturne (op. 37, No. 1), with its
+intermezzo of choric monks, though the composition is Nevin's very own
+in spirit and treatment.
+
+In addition to the works catalogued, Nevin has written a pantomime for
+piano and orchestra to the libretto of that virtuoso in English, Vance
+Thompson; it was called "Lady Floriane's Dream," and was given in New
+York in 1898. Nevin has also a cantata in making.
+
+It needs no very intimate acquaintance with Nevin's music to see that
+it is not based on an adoration for counterpoint as an end. He
+believes that true music must come from the emotions--the intelligent
+emotions--and that when it cannot appeal to the emotions it has lost
+its power. He says: "Above everything we need melody--melody and
+rhythm. Rhythm is the great thing. We have it in Nature. The trees
+sway, and our steps keep time, and our very souls respond." In
+Wagner's "Meistersinger," which he calls "a symphonic poem with
+action," Nevin finds his musical creed and his model.
+
+And now, if authority is needed for all this frankly enthusiastic
+admiration, let it be found in and echoed from Karl Klindworth, who
+said of Nevin: "His talent is _ungeheures_ [one of the strongest
+adjectives in the German language]. If he works hard and is
+conscientious, he can say for the musical world something that no one
+else can say."
+
+
+_John Philip Sousa._
+
+[Illustration: Autograph of John Philip Sousa]
+
+[Illustration: JOHN PHILIP SOUSA.]
+
+In common with most of those that pretend to love serious music, a
+certain person was for long guilty of the pitiful snobbery of rating
+march-tunes as the lowest form of the art. But one day he joined a
+National Guard regiment, and his first long march was that
+heart-breaking dress-parade of about fifteen miles through the wind
+and dust of the day Grant's monument was dedicated. Most of the music
+played by the band was merely rhythmical embroidery, chiefly in bugle
+figures, as helpful as a Clementi sonatina; but now and then there
+would break forth a magic elixir of tune that fairly plucked his feet
+up for him, put marrow in unwilling bones, and replaced the dreary
+doggedness of the heart with a great zest for progress, a stout
+martial fire, and a fierce _esprit de corps_; with patriotism indeed.
+In almost every case, that march belonged to one John Philip Sousa.
+
+It came upon this wretch then, that, if it is a worthy ambition in a
+composer to give voice to passionate love-ditties, or vague
+contemplation, or the deep despair of a funeral cortege, it is also a
+very great thing to instil courage, and furnish an inspiration that
+will send men gladly, proudly, and gloriously through hardships into
+battle and death. This last has been the office of the march-tune, and
+it is as susceptible of structural logic or embellishments as the
+fugue, rondo, or what not. These architectural qualities Sousa's
+marches have in high degree, as any one will find that examines their
+scores or listens analytically. They have the further merit of
+distinct individuality, and the supreme merit of founding a school.
+
+It is only the plain truth to say that Sousa's marches have founded a
+school; that he has indeed revolutionized march-music. His career
+resembles that of Johann Strauss in many ways. A certain body of old
+fogies has always presumed to deride the rapturous waltzes of
+Strauss, though they have won enthusiastic praise from even the
+esoteric Brahms, and gained from Wagner such words as these: "One
+Strauss waltz overshadows, in respect to animation, finesse, and real
+musical worth, most of the mechanical, borrowed, factory-made products
+of the present time." The same words might be applied to Sousa's
+marches with equal justice. They have served also for dance music, and
+the two-step, borne into vogue by Sousa's music, has driven the waltz
+almost into desuetude.
+
+There is probably no composer in the world with a popularity equal to
+that of Sousa. Though he sold his "Washington Post" march outright for
+$35, his "Liberty Bell" march is said to have brought him $35,000. It
+is found that his music has been sold to eighteen thousand bands in
+the United States alone. The amazing thing is to learn that there are
+so many bands in the country. Sousa's marches have appeared on
+programs in all parts of the civilized world. At the Queen's Jubilee,
+when the Queen stepped forward to begin the grand review of the
+troops, the combined bands of the household brigade struck up the
+"Washington Post." On other important occasions it appeared constantly
+as the chief march of the week. General Miles heard the marches played
+in Turkey by the military bands in the reviews.
+
+The reason for this overwhelming appeal to the hearts of a planet is
+not far to seek. The music is conceived in a spirit of high martial
+zest. It is proud and gay and fierce, thrilled and thrilling with
+triumph. Like all great music it is made up of simple elements, woven
+together by a strong personality. It is not difficult now to write
+something that sounds more or less like a Sousa march, any more than
+it is difficult to write parodies, serious or otherwise, on Beethoven,
+Mozart, or Chopin. The glory of Sousa is that he was the first to
+write in this style; that he has made himself a style; that he has so
+stirred the musical world that countless imitations have sprung up
+after him.
+
+The individuality of the Sousa march is this, that, unlike most of the
+other influential marches, it is not so much a musical exhortation
+from without, as a distillation of the essences of soldiering from
+within. Sousa's marches are not based upon music-room enthusiasms, but
+on his own wide experiences of the feelings of men who march together
+in the open field.
+
+And so his band music expresses all the nuances of the military
+psychology: the exhilaration of the long unisonal stride, the grip on
+the musket, the pride in the regimentals and the regiment,--_esprit de
+corps_. He expresses the inevitable foppery of the severest soldier,
+the tease and the taunt of the evolutions, the fierce wish that all
+this ploying and deploying were in the face of an actual enemy, the
+mania to reek upon a tangible foe all the joyous energy, the
+blood-thirst of the warrior.
+
+These things Sousa embodies in his music as no other music writer ever
+has. To approach Sousa's work in the right mood, the music critic must
+leave his stuffy concert hall and his sober black; he must flee from
+the press, don a uniform, and march. After his legs and spirits have
+grown aweary under the metronomic tunes of others, let him note the
+surge of blood in his heart and the rejuvenation of all his muscles
+when the brasses flare into a barbaric Sousa march. No man that
+marches can ever feel anything but gratitude and homage for Sousa.
+
+Of course he is a trickster at times; admitted that he stoops to
+conquer at times, yet in his field he is supreme. He is worthy of
+serious consideration, because his thematic material is almost always
+novel and forceful, and his instrumentation full of contrast and
+climax. He is not to be judged by the piano versions of his works,
+because they are abominably thin and inadequate, and they are not
+_klaviermaessig_. There should be a Liszt or a Taussig to transcribe
+him.
+
+When all's said and done, Sousa is the pulse of the nation, and in
+war of more inspiration and power to our armies than ten colonels with
+ten braw regiments behind them.
+
+Like Strauss', Mr. Sousa's father was a musician who forbade his son
+to devote himself to dance music. As Strauss' mother enabled him
+secretly to work out his own salvation, so did Sousa's mother help
+him. Sousa's father was a political exile from Spain, and earned a
+precarious livelihood by playing a trombone in the very band at
+Washington which later became his son's stepping-stone to fame. Sousa
+was born at Washington in 1859. His mother is German, and Sousa's
+music shows the effect of Spanish yeast in sturdy German rye bread.
+Sousa's teachers were John Esputa and George Felix Benkert. The latter
+Mr. Sousa considers one of the most complete musicians this country
+has ever known. He put him through such a thorough theoretical
+training, that at fifteen Sousa was teaching harmony. At eight he had
+begun to earn his own living as a violin player at a dancing-school,
+and at ten he was a public soloist. At sixteen he was the conductor of
+an orchestra in a variety theatre. Two years later he was musical
+director of a travelling company in Mr. Milton Nobles' well-known
+play, "The Phoenix," for which he composed the incidental music.
+Among other incidents in a career of growing importance was a position
+in the orchestra with which Offenbach toured this country. At the age
+of twenty-six, after having played, with face blacked, as a negro
+minstrel, after travelling with the late Matt Morgan's Living Picture
+Company, and working his way through and above other such experiences
+in the struggle for life, Sousa became the leader of the United States
+Marine Band. In the twelve years of his leadership he developed this
+unimportant organization into one of the best military bands in the
+world.
+
+In 1892 his leadership had given him such fame that he withdrew from
+the government service to take the leadership of the band carrying his
+own name.
+
+A work of enormous industry was his collection and arrangement, by
+governmental order, of the national and typical tunes of all nations
+into one volume, an invaluable book of reference.
+
+Out of the more than two hundred published compositions by Sousa, it
+is not possible to mention many here. Though some of the names are not
+happily chosen, they call up many episodes of parade gaiety and
+jauntiness, or warlike fire. The "Liberty Bell," "Directorate," "High
+School Cadets," "King Cotton," "Manhattan Beach," "'Sound Off!'"
+"Washington Post," "Picador," and others, are all stirring works; his
+best, I think, is a deeply patriotic march, "The Stars and Stripes
+Forever." The second part of this has some brass work of particular
+originality and vim.
+
+In manuscript are a few works of larger form: a symphonic poem, "The
+Chariot Race," an historical scene, "Sheridan's Ride," and two suites,
+"Three Quotations" and "The Last Days of Pompeii."
+
+The "Three Quotations" are:
+
+    (_a_) "The King of France, with twenty thousand men,
+          Marched up a hill and then marched down again,"
+
+which is the motive for a delightful scherzo-march of much humor in
+instrumentation;
+
+    (_b_) "And I, too, was born in Arcadia,"
+
+which is a pastorale with delicious touches of extreme delicacy;
+
+    (_c_) "In Darkest Africa,"
+
+which has a stunning beginning and is a stirring grotesque in the
+negro manner Dvorak advised Americans to cultivate. All three are well
+arranged for the piano.
+
+The second suite is based on "The Last Days of Pompeii." It opens with
+a drunken revel, "In the House of Burbo and Stratonice;" the bulky
+brutishness of the gladiators clamoring for wine, a jolly
+drinking-song, and a dance by a jingling clown make up a superbly
+written number. The second movement is named "Nydia," and represents
+the pathetic reveries of the blind girl; it is tender and quiet
+throughout.
+
+The third movement is at once daring and masterly. It boldly attacks
+"The Destruction," and attains real heights of graphic suggestion. A
+long, almost inaudible roll on the drums, with occasional thuds,
+heralds the coming of the earthquake; subterranean rumblings, sharp
+rushes of tremor, toppling stones, and wild panic are insinuated
+vividly, with no cheap attempts at actual imitation. The roaring of
+the terrified lion is heard, and, best touch of all, under the fury of
+the scene persists the calm chant of the Nazarenes, written in one of
+the ancient modes. The rout gives way to the sea-voyage of Glaucus and
+Ione, and Nydia's swan-song dies away in the gentle splash of ripples.
+The work is altogether one of superb imagination and scholarly
+achievement.
+
+Sousa, appealing as he does to an audience chiefly of the popular
+sort, makes frequent use of devices shocking to the conventional. But
+even in this he is impelled by the enthusiasm of an experimenter and a
+developer. Almost every unconventional novelty is hooted at in the
+arts. But the sensationalism of to-day is the conservatism of
+to-morrow, and the chief difference between a touch of high art and a
+trick is that the former succeeds and the latter does not. Both are
+likely to have a common origin.
+
+The good thing is that Sousa is actuated by the spirit of progress and
+experiment, and has carried on the development of the military band
+begun by the late Patrick S. Gilmore. Sousa's concert programs devote
+what is in fact the greater part of their space to music by the very
+best composers. These, of course, lose something in being translated
+over to the military band, but their effect in raising the popular
+standard of musical culture cannot but be immense. Through such
+instrumentality much of Wagner is as truly popular as any music
+played. The active agents of such a result should receive the
+heartiest support from every one sincerely interested in turning the
+people toward the best things in music. Incidentally, it is well to
+admit that while a cheap march-tune is almost as trashy as an
+uninspired symphony, a good march-tune is one of the best things in
+the best music.
+
+Though chiefly known as a writer of marches, in which he has won glory
+enough for the average human ambition, Sousa has also taken a large
+place in American comic opera. His first piece, "The Smugglers," was
+produced in 1879, and scored the usual failure of a first work. His
+"Katherine" was never produced, his "Desiree" was brought out in 1884
+by the McCaull Opera Company, and his "Queen of Hearts," a one-act
+piece, was given two years later. He forsook opera then for ten years;
+but in 1896 De Wolf Hopper produced his "El Capitan" with great
+success.
+
+The chief tune of the piece was a march used with Meyerbeerian
+effectiveness to bring down the curtain. The stout verve of this "El
+Capitan" march gave it a large vogue outside the opera. Hopper next
+produced "The Charlatan," a work bordering upon opera comique in its
+first version. Both of these works scored even larger success in
+London than at home.
+
+[Music: Used by permission of the John Church Company, owners of the
+copyright.
+
+A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA.]
+
+In "The Bride Elect," Sousa wrote his own libretto, and while there
+was the usual stirring march as the piece de resistance, the work as a
+whole was less clangorous of the cymbal than the operas of many a
+tamer composer. In "Chris and the Wonderful Lamp," an extravaganza,
+the chief ensemble was worked up from a previous march, "Hands Across
+the Sea."
+
+But Sousa can write other things than marches, and his scoring is full
+of variety, freedom, and contrapuntal brilliance.
+
+
+_Henry Schoenefeld._
+
+[Illustration: HENRY SCHOENEFELD.]
+
+Long before Dvorak discovered America, we aboriginals had been trying
+to invent a national musical dialect which should identify us as
+completely to the foreigner as our nasal intonation and our fondness
+for the correct and venerable use of the word "guess." But Dvorak is
+to credit for taking the problem off the shelf, and persuading our
+composers to think. I cannot coax myself into the enthusiasm some have
+felt for Dvorak's own explorations in darkest Africa. His quartette
+(op. 96) and his "New World" symphony are about as full of accent and
+infidelity as Mlle. Yvette Guilbert's picturesque efforts to sing in
+English. But almost anything is better than the phlegm that says, "The
+old ways are good enough for all time;" and the Bohemian missionary
+must always hold a place in the chronicle of American music.
+
+A disciple of Dvorak's, both in advance and in retrospect, is Henry
+Schoenefeld, who wrote a characteristic suite (op. 15) before the
+Dvorakian invasion, and an overture, "In the Sunny South," afterward.
+The suite, which has been played frequently abroad, winning the
+praises of Hanslick, Nicode, and Rubinstein, is scored for string
+orchestra. It opens with an overly reminiscent waltz-tune, and ends
+conventionally, but it contains a movement in negro-tone that gives it
+importance. In this the strings are abetted by a tambourine, a
+triangle, and a gong. It is in march-time, and, after a staccato
+prelude, begins with a catchy air taken by the second violins, while
+the firsts, divided, fill up the chords. A slower theme follows in the
+tonic major; it is a jollificational air, dancing from the first
+violins with a bright use of harmonics. Two periods of loud chorale
+appear with the gong clanging (to hint a church-bell, perhaps). The
+first two themes return and end the picture.
+
+The overture (op. 22) has won the high esteem of A.J. Goodrich, and
+it seems to me to be one of the most important of native works, not
+because of its nigrescence, but because of its spontaneity therein. It
+adds to the usual instruments only the piccolo, the English horn, the
+tambourine, and triangle and cymbals. The slow introduction gives
+forth an original theme in the most approved and most fetching darky
+pattern. The strings announce it, and the wood replies. The flutes and
+clarinets toss it in a blanket furnished by an interesting passage in
+the 'cellos and contrabasses. There is a choral moment from the English
+horn, the bassoons, and a clarinet. This solemn thought keeps
+recurring parenthetically through the general gaiety. The first
+subject clatters in, the second is even more jubilant. In the
+development a dance _misterioso_ is used with faithful screaming
+repetitions, and the work ends regularly and brilliantly. There is
+much syncopation, though nothing that is strictly in "rag-time;"
+banjo-figurations are freely and ingeniously employed, and the whole
+is a splendid fiction in local color. Schoenefeld's negroes do not
+speak Bohemian.
+
+His determined nationalism is responsible for his festival overture,
+"The American Flag," based on his own setting of Rodman Drake's
+familiar poem. The work opens with the hymn blaring loudly from the
+antiphonal brass and wood. The subjects are taken from it with much
+thematic skill, and handled artfully, but the hymn, which appears in
+full force for coda, is as trite as the most of its kith.
+
+Schoenefeld was born in Milwaukee, in 1857. His father was a musician,
+and his teacher for some years. At the age of seventeen Schoenefeld
+went to Leipzig, where he spent three years, studying under Reinecke,
+Coccius, Papperitz, and Grill. A large choral and orchestral work was
+awarded a prize over many competitors, and performed at the Gewandhaus
+concerts, the composer conducting. Thereafter he went to Weimar, where
+he studied under Edward Lassen.
+
+In 1879 he came back to America, and took up his residence in Chicago,
+where he has since lived as a teacher, orchestra leader, and composer.
+He has for many years directed the Germania Maennerchor.
+
+Schoenefeld's "Rural Symphony" was awarded the $500 prize offered by
+the National Conservatory. Dvorak was the chairman of the Committee on
+Award, and gave Schoenefeld hearty compliments. Later works are: "Die
+drei Indianer," an ode for male chorus, solo, and orchestra; a most
+beautiful "Air" for orchestra (the air being taken by most of the
+strings,--the first violins haunting the G string,--while a harp and
+three flutes carry the burden of the accompaniment gracefully); a
+pleasant "Reverie" for string orchestra, harp, and organ; and two
+impromptus for string orchestra, a "Meditation" representing Cordelia
+brooding tenderly over the slumbering King Lear,--art ministering very
+tenderly to the mood,--and a cleverly woven "Valse Noble."
+
+Only a few of Schoenefeld's works are published, all of them piano
+pieces. It is no slur upon his orchestral glory to say that these are
+for the most part unimportant, except the excellent "Impromptu" and
+"Prelude." Of the eight numbers in "The Festival," for children, only
+the "Mazurka" is likely to make even the smallest child think. The
+"Kleine Tanz Suite" is better. The six children's pieces of opus 41,
+"Mysteries of the Wood," make considerable appeal to the fancy and
+imagination, and are highly interesting. They show Grieg's influence
+very plainly, and are quite worth recommending. This cannot be said of
+his most inelegant "Valse Elegante," or of his numerous dances,
+except, perhaps, his "Valse Caprice."
+
+He won in July, 1899, the prize offered to American composers by Henri
+Marteau, for a sonata for violin and piano. The jury was composed of
+such men as Dubois, Pierne, Diemer, and Pugno. The sonata is _quasi
+fantasia_, and begins strongly with an evident intention to make use
+of negro-tone. The first subject is so vigorously declared that one is
+surprised to find that it is elastic enough to express a sweet pathos
+and a deep gloom. It is rather fully developed before the second
+subject enters; this, on the other hand, is hardly insinuated in its
+relative major before the rather inelaborate elaboration begins. In
+the romanza, syncopation and imitation are much relied on, though the
+general atmosphere is that of a nocturne, a trio of dance-like manner
+breaking in. The final rondo combines a clog with a choral intermezzo.
+The work is noteworthy for its deep sincerity and great lyric beauty.
+
+
+_Maurice Arnold._
+
+The plantation dances of Maurice Arnold have an intrinsic interest
+quite aside from their intrinsic value. Arnold, whose full name is
+Maurice Arnold-Strothotte, was born in St. Louis in 1865. His mother
+was a prominent pianist and gave him his first lessons in music. At
+the age of fifteen he went to Cincinnati, studying at the College of
+Music for three years. In 1883 he went to Germany to study
+counterpoint and composition with Vierling and Urban in Berlin. The
+latter discouraged him when he attempted to imbue a suite with a negro
+plantation spirit.
+
+Arnold now went upon a tramping tour in Hungary, Bulgaria, and Turkey.
+Some of his compositions show the influence of his journey. He then
+entered the Cologne Conservatory, studying under Wuellner, Neitzel,
+and G. Jensen. His first piano sonata was performed there at a public
+concert. He next went to Breslau, where, under the instruction of Max
+Bruch, he wrote his cantata, "The Wild Chase," and gave public
+performance to other orchestral work. Returning now to St. Louis, he
+busied himself as solo violinist and teacher, travelling also as a
+conductor of opera companies. When Dvorak came here Arnold wrote his
+"Plantation Dances," which were produced in a concert under the
+auspices of the Bohemian composer. Arnold was instructor of harmony at
+the National Conservatory under Dvorak.
+
+The "Plantation Dances" are Arnold's thirty-third opus, and they have
+been much played by orchestras; they are also published as a piano
+duet; the second dance also as a solo. Arnold has not made direct use
+of Ethiopian themes, but has sought the African spirit. The first of
+the dances is very nigresque; the second hardly at all, though it is a
+delicious piece of music; the third dance uses banjo figures and
+realizes darky hilarity in fine style; the fourth is a cake walk and
+hits off the droll humor of that pompous ceremony fascinatingly.
+
+Arnold's "Dramatic Overture" shows a fire and rush very characteristic
+of him and likely to be kept up without sufficient contrast. So also
+does his cantata, "The Wild Chase." Arnold has written two comic
+operas. I have heard parts of the first and noted moments of much
+beauty and humor. The Aragonaise, which opens the third act, is
+particularly delightful. The orchestration throughout displays
+Arnold's characteristic studiousness in picturesque effect.
+
+For piano there is a czardas, and a "Valse Elegante" for eight hands;
+it is more Viennese than Chopinesque. It might indeed be called a
+practicable waltz lavishly adorned. The fruits of Arnold's Oriental
+journey are seen in his impressionistic "Danse de la Midway
+Plaisance;" a very clever reminiscence of a Turkish minstrel; and a
+Turkish march, which has been played by many German orchestras. There
+is a "Caprice Espagnol," which is delightful, and a "Banjoenne," which
+treats banjo music so captivatingly that Arnold may be said to have
+invented a new and fertile and musical form. Besides these there are a
+fugue for eight hands, a "Minstrel Serenade" for violin and piano, and
+six duets for violin and viola.
+
+There are also a few part songs and some solos, among which mention
+should be made of "Ein Maerlein," in the old German style, an
+exquisitely tender "Barcarolle," and a setting of the poem, "I Think
+of Thee in Silent Night," which makes use of a particularly beautiful
+phrase for pre-, inter-, and postlude. Arnold has also written some
+ballet music, a tarantelle for string orchestra, and is at work upon a
+symphony, and a book, "Some Points in Modern Orchestration." His
+violin sonata (now in MS.) shows his original talent at its best. In
+the first movement, the first subject is a snappy and taking example
+of negro-tone, the second has the perfume of moonlit magnolia in its
+lyricism. (In the reprise this subject, which had originally appeared
+in the dominant major, recurs in the tonic major, the key of the
+sonata being E minor.) The second movement is also in the darky
+spirit, but full of melancholy. For finale the composer has flown to
+Ireland and written a bully jig full of dash and spirit.
+
+
+_N. Clifford Page._
+
+The influence of Japanese and Chinese art upon our world of decoration
+has long been realized. After considering the amount of interest shown
+in the Celestial music by American composers, one is tempted to
+prophesy a decided influence in this line, and a considerable spread
+of Japanese influence in the world of music also. Japanese music has a
+decorative effect that is sometimes almost as captivating as in
+painting.
+
+The city of San Francisco is the natural gateway for any such impulse,
+and not a little of it has already passed the custom house. In this
+field Edgar S. Kelley's influence is predominating, and it is not
+surprising that he should pass the contagion on to his pupil,
+Nathaniel Clifford Page, who was born in San Francisco, October 26,
+1866. His ancestors were American for many years prior to the
+Revolution. He composed operas at the age of twelve, and has used many
+of these immature ideas with advantage in the later years. He began
+the serious study of music at the age of sixteen, Kelley being his
+principal teacher. His first opera, composed and orchestrated before
+he became of age, was entitled "The First Lieutenant." It was produced
+in 1889 at the Tivoli Opera House in San Francisco, where most of the
+critics spoke highly of its instrumental and Oriental color, some of
+the scenes being laid in Morocco.
+
+In instrumentation, which is considered Page's forte, he has never
+had any instruction further than his own reading and investigation. He
+began to conduct in opera and concert early in life, and has had much
+experience. He has also been active as a teacher in harmony and
+orchestration.
+
+An important phase of Page's writing has been incidental music for
+plays, his greatest success having been achieved by the music for the
+"Moonlight Blossom," a play based upon Japanese life and produced in
+London in 1898. The overture was written entirely on actual Japanese
+themes, including the national anthem of Japan. Page was three weeks
+writing these twelve measures. He had a Japanese fiddle arranged with
+a violin finger-board, but thanks to the highly characteristic
+stubbornness of orchestral players, he was compelled to have this
+part played by a mandolin. Two Japanese drums, a whistle used by a
+Japanese shampooer, and a Japanese guitar were somehow permitted to
+add their accent. The national air is used in augmentation later as
+the bass for a Japanese song called "K Honen." The fidelity of the
+music is proved by the fact that Sir Edwin Arnold's Japanese wife
+recognized the various airs and was carried away by the national
+anthem.
+
+Although the play was not a success, the music was given a cordial
+reception, and brought Page contracts for other work in England,
+including a play of Indian life by Mrs. Flora Annie Steel.
+
+Previously to the writing of the "Moonlight Blossom" music, Page had
+arranged the incidental music for the same author's play, "The Cat
+and the Cherub." Edgar S. Kelley's "Aladdin" music was the source from
+which most of the incidental music was drawn; but Page added some
+things of his own, among them being one of the most effective and
+unexpected devices for producing a sense of horror and dread I have
+ever listened to: simply the sounding at long intervals of two gruff
+single tones in the extreme low register of the double basses and
+bassoons. The grimness of this effect is indescribable.
+
+An unnamed Oriental opera, and an opera called "Villiers," in which
+old English color is employed (including a grotesque dance of the
+clumsy Ironsides), show the cosmopolitan restlessness of Page's muse.
+An appalling scheme of self-amusement is seen in his "Caprice," in
+which a theme of eight measures' length is instrumented with almost
+every contrapuntal device known, and with psychological variety that
+runs through five movements, scherzando, vigoroso, con sentimento,
+religioso, and a marcia fantastico. The suite called "Village Fete" is
+an experiment in French local color. It contains five scenes: The
+Peasants Going to Chapel; The Flower Girls; The Vagabonds; The Tryst;
+The Sabot Dance; and the Entrance of the Mayor, which is a pompous
+march.
+
+On the occasion of a performance of this, Louis Arthur Russell wrote:
+"His orchestra is surely French, and as modern as you please. The
+idiom is Berlioz's rather than Wagner's."
+
+
+
+
+CHAPTER III.
+
+THE ACADEMICS.
+
+
+_John Knowles Paine._
+
+[Illustration: JOHN KNOWLES PAINE.]
+
+[Illustration: Autograph of John K. Paine]
+
+There is one thing better than modernity,--it is immortality. So while
+I am a most ardent devotee of modern movements, because they are at
+worst experiments, and motion is necessary to life, I fail to see why
+it is necessary in picking up something new always to drop something
+old, as if one were an awkward, butter-fingered parcel-carrier.
+
+If a composer writes empty stuff in the latest styles, he is one
+degree better than the purveyor of trite stuff in the old styles; but
+he is nobody before the high thinker who finds himself suited by the
+general methods of the classic writers.
+
+The most classic of our composers is their venerable dean, John
+Knowles Paine. It is an interesting proof of the youth of our native
+school of music, that the principal symphony, "Spring," of our first
+composer of importance, was written only twenty-one years ago. Before
+Mr. Paine there had never been an American music writer worthy of
+serious consideration in the larger forms.
+
+By a mere coincidence Joachim Raff had written a symphony called
+"Spring" in 1878, just a year before Paine finished his in America.
+The first movement in both is called "Nature's Awakening;" such an
+idea is inevitable in any spring composition, from poetry up--or down.
+For a second movement Raff has a wild "Walpurgis Night Revel," while
+Paine has a scherzo called "May Night Fantasy." Where Raff is uncanny
+and fiendish, Paine is cheerful and elfin. The third movement of
+Raff's symphony is called "First Blossoms of Spring," and the last is
+called "The Joys of Wandering." The latter two movements of Mr.
+Paine's symphony are "A Promise of Spring" and "The Glory of Nature."
+The beginning of both symphonies is, of course, a slow introduction
+representing the torpid gloom of winter, out of which spring aspires
+and ascends.
+
+Paine's symphony, though aiming to shape the molten gold of April
+fervor in the rigid mold of the symphonic form, has escaped every
+appearance of mechanism and restraint. It is program music of the most
+legitimate sort, in full accord with Beethoven's canon, "Mehr Ausdruck
+der Empfindung als Malerei." It has no aim of imitating springtime
+noises, but seeks to stimulate by suggestion the hearer's creative
+imagination, and provoke by a musical telepathy the emotions that
+swayed the nympholept composer.
+
+    The first movement of the symphony has an introduction
+    containing two motives distinct from the two subjects of the
+    movement. These motives represent Winter and the Awakening.
+    The Winter motive may be again divided into a chill and icy
+    motif and a rushing wind-motif. Through these the timid
+    Awakening spirit lifts its head like the first trillium of
+    the year. There is a silence and a stealthy flutter of the
+    violins as if a cloud of birds were playing courier to the
+    Spring.
+
+    Suddenly, after a little prelude, as if a bluebird were
+    tuning his throat, we are enveloped in the key of the
+    symphony (A major) and the Spring runs lilting up the 'cellos
+    to the violins (which are divided in the naif archaic
+    interval of the tenth, too much ignored in our over-colored
+    harmonies). The second subject is propounded by the oboes
+    (in the rather unusual related key of the submediant). This
+    is a lyrical and dancing idea, and it does battle with the
+    underground resistance of the Winter motives. There is an
+    elaborate conclusion of fiercest joy. Its ecstasy droops, and
+    after a little flutter as of little wings, the elaboration
+    opens with the Spring motive in the minor. In this part,
+    scholarship revels in its own luxury, the birds quiver about
+    our heads again, and the reprise begins (in A major of
+    course) with new exultance, the dancing second subject
+    appears (in the tonic), overwhelming the failing strength of
+    the Winter with a cascade of delight. Then the conclusion
+    rushes in; this I consider one of the most joyous themes ever
+    inspired.
+
+    There is a coda of vanishing bird-wings and throats, a
+    pizzicato chord on the strings--and Spring has had her
+    coronation.
+
+    "The May Night Fantasy" is a moonlit revel of elves caught by
+    a musical reporter, a surreptitious "chiel amang 'em takin'
+    notes." A single hobgoblin bassoon croaks ludicrously away,
+    the pixies darkle and flirt and dance their hearts out of
+    them.
+
+    The Romance is in rondo form with love-lorn iteration of
+    themes and intermezzo, and deftest broidery, the whole
+    ending, after a graceful Recollection, in a bliss of harmony.
+
+    The Finale is a halleluiah. It is on the sonata formula,
+    without introduction (the second subject being not in the
+    dominant of A major, but in C major, that chaste, frank key
+    which one of the popes strangely dubbed "lascivious"). The
+    elaboration is frenetic with strife, but the reprise is a
+    many-hued rainbow after storm, and the coda in A major
+    (ending a symphony begun in A minor) is swift with delight.
+
+This symphony has been played much, but not half enough. It should
+resist the weariness of time as immortally as Fletcher's play, "The
+Two Noble Kinsmen" (in which Shakespeare's hand is glorious), for it
+is, to quote that drama, "fresher than May, sweeter than her gold
+buttons on the bough, or all th'enamell'd knacks o' the mead or
+garden."
+
+John Knowles Paine is a name that has been held in long and high
+honor among American composers. He was about the earliest of native
+writers to convince foreign musicians that some good could come out of
+Nazareth.
+
+He was born in Portland, Me., January 9, 1839. He studied music first
+under a local teacher, Kotzschmar, making his debut as organist at the
+age of eighteen. A year later he was in Berlin, where for three years
+he studied the organ, composition, instrumentation, and singing under
+Haupt, Wieprecht, and others. He gave several organ concerts in
+Germany, and made a tour in 1865-1866. In February, 1867, his "Mass"
+was given at the Berlin Singakademie, Paine conducting. Then he came
+back to the States, and in 1872 was appointed to an instructorship of
+music at Harvard, whence he was promoted in 1876 to a full
+professorship, a chair created for him and occupied by him ever since
+with distinguished success.
+
+His first symphony was brought out by Theodore Thomas in 1876. This
+and his other orchestral works have been frequently performed at
+various places in this country and abroad.
+
+His only oratorio, "St. Peter," was first produced at Portland in
+1873, and in Boston a year later. It is a work of great power and much
+dramatic strength. Upton, in his valuable work, "Standard Oratorios,"
+calls it "from the highest standpoint the only oratorio yet produced
+in this country."
+
+This oratorio, while containing much of the floridity and repetition
+of Haendel at his worst, is also marked with the erudition and
+largeness of Haendel at his best. The aria for St. Peter, "O God, My
+God, Forsake Me Not," is especially fine.
+
+A much-played symphonic poem is Paine's "The Tempest," which develops
+musically the chief episodes of Shakespeare's play. He has also
+written a valuable overture to "As You Like It;" he has set Keats'
+"Realm of Fancy" exquisitely, and Milton's "Nativity." And he has
+written a grand opera on a mediaeval theme to his own libretto. This is
+a three-act work called "Azara;" the libretto has been published by
+the Riverside Press, and is to be translated into German. This has not
+yet been performed. Being, unfortunately, an American grand opera, it
+takes very little acuteness of foresight to predict a long wait before
+it is ever heard. In it Paine has shown himself more a romanticist
+than a classicist, and the work is said to be full of modernity.
+
+Paine wrote the music for Whittier's "Hymn," used to open the
+Centennial Exposition at Philadelphia, and was fitly chosen to write
+the Columbus March and Hymn for the opening ceremonies of the World's
+Fair, at Chicago, October 21, 1892. This was given by several thousand
+performers under the direction of Theodore Thomas.
+
+A most original and interesting work is the chorus, "Phoebus, Arise."
+It seems good to hark back for words to old William Drummond "of
+Hawthornden." The exquisite flavor of long-since that marks the poetry
+is conserved in the tune. While markedly original, it smacks agreeably
+of the music of Harry Lawes, that nightingale of the seventeenth
+century, whose fancies are too much neglected nowadays.
+
+Paine's strong point is his climaxes, which are never timid, and are
+often positively titanic, thrilling. The climax of this chorus is
+notably superb, and the voices hold for two measures after the
+orchestra finishes. The power of this effect can be easily imagined.
+This work is marked, to an unusual extent, with a sensuousness of
+color.
+
+The year eighteen hundred eighty-one saw the first production of what
+is generally considered Paine's most important composition, and by
+some called the best work by an American,--his setting of the choruses
+of the "Oedipus Tyrannos" of Sophokles. It was written for the
+presentation by Harvard University, and has been sung, in whole or in
+part, very frequently since. This masterpiece of Grecian genius is so
+mighty in conception and so mighty in execution that it has not lost
+power at all in the long centuries since it first thrilled the Greeks.
+To realize its possibilities musically is to give proof enough of the
+very highest order of genius,--a genius akin to that of Sophokles. It
+may be said that in general Paine has completely fulfilled his
+opportunities.
+
+Mendelssohn also set two Greek tragedies to music, Sophokles' "Oedipus
+in Kolonos" and his "Antigone." Mendelssohn is reported to have made a
+first attempt at writing Grecian music, or what we suppose it to be,
+mainly a matter of unison and meagre instrumentation. He was soon
+dissuaded from such a step, however, and wisely. The Greek tragedians,
+really writers of grand opera, made undoubted use of the best musical
+implements and knowledge they had. Creative emotion has its
+prosperity in the minds of its audience, not in the accuracy of its
+mechanism. To secure the effect on us that the Greek tragedians
+produced on contemporary audiences, it is necessary that our music be
+a sublimation along the lines we are accustomed to, as theirs was
+along lines familiar to them and effective with them. Otherwise,
+instead of being moved by the miseries of Oedipus, we should be
+chiefly occupied with amusement at the oddity of the music, and soon
+bored unendurably by its monotony and thinness.
+
+Mendelssohn decided then to use unison frequently for suggestion's
+sake, but not to carry it to a fault. His experiments along these
+lines have been of evident advantage to Paine, who has, however, kept
+strictly to his own individuality, and produced a work that, at its
+highest, reaches a higher plane, in my opinion, than anything in
+Mendelssohn's noble tragedies,--and I am not, at that, one of those
+that affect to look down upon the achievements of the genius that
+built "Elijah."
+
+Paine's prelude is an immense piece of work, in every way larger and
+more elaborate than that to Mendelssohn's "Antigone" (the "Oedipus
+in Kolonos" begins strongly with only one period of thirteen
+measures). The opening chorus of Paine's "Oedipus" is the weakest
+thing in the work. The second strophe has a few good moments, but soon
+falls back into what is impudent enough to be actually catchy!--and
+that, too, of a Lowell Mason, Moody and Sankey catchiness. Curiously
+enough, Mendelssohn's "Antigone" begins with a chorus more like a
+drinking-song than anything else, and the first solo is pure
+_Volkslied_; both of them imbued with a Teutonic flavor that could be
+cut with a knife. In Mendelssohn's "Oedipus in Kolonos," however,
+the music expresses emotion rather than German emotion, and abounds in
+splendors of harmony that are strikingly Wagnerian--in advance.
+
+[Music: Copyright, 1895, by Arthur P. Schmidt.
+
+POSTLUDE TO "OEDIPUS TYRANNUS," BY J.K. PAINE.]
+
+Paine's second chorus describes the imaginary pursuit by Fate of the
+murderer of King Laius. It is full of grim fire, and the second
+strophe is at first simply terrible with awe. Then it degenerates
+somewhat into an arioso, almost Italian. The fourth chorus defends the
+oracles from Jocasta's incredulity. It is written almost in march
+measure, and is full of robor.
+
+At this point in the tragedy, where it begins to transpire to
+Oedipus that he himself was the unwitting murderer and the
+incestuous wretch whose exile the oracle demands before dispelling the
+plague,--here the divine genius of Sophokles introduces a chorus of
+general merriment, somewhat as Shakespeare uses the maundering fool as
+a foil to heighten King Lear's fate. No praise can be too high for
+Paine's music here. Its choric structure is masterly, its spirit is
+running fire. Note, as an instance, the effect at the words "To save
+our land thou didst rise as a tower!" where the music itself is
+suddenly uplift with most effective suggestion.
+
+The sixth chorus shows the effect of Oedipus' divulged guilt and the
+misery of this fool of Fate. The music is an outburst of sheer genius.
+It is overpowering, frightening. The postlude is orchestral, with the
+chorus speaking above the music. Jocasta has hanged herself, Oedipus
+has torn out his own eyes with her brooch. The music is a fitting
+reverie on the great play, and after a wild tumult it subsides in a
+resigned quietude.
+
+From Greek tragedy to Yankee patriotism is a long cry, yet I think
+Paine has not wasted his abilities on his "Song of Promise," written
+for the Cincinnati May Festival of 1888. Though the poem by Mr. George
+E. Woodberry is the very apotheosis of American brag, it has a
+redeeming technic. The music, for soprano solo, mixed chorus, and
+orchestra, reaches the very peaks of inspiration. I doubt if any
+living composer or many dead masters could grow so epic, as most of
+this. In a way it is academic. It shows a little of the influence of
+Wagner,--as any decent music should nowadays. But it is not Wagner's
+music, and it is not trite academia. There is no finicky tinsel and no
+cheap oddity.
+
+Considering the heights at which both words and music aimed, it is
+amazing that they did not fall into utter wreck and nauseating bathos.
+That they have proved so effective shows the sure-footedness of
+genius. It is all good, especially the soprano solo.
+
+This music is exquisite, wondrously exquisite, and it is followed by a
+maestoso e solenne movement of unsurpassable majesty. I have never
+read anything more purely what music should be for grandeur. And it
+praises our ain countree! It might well be taken up by some of our
+countless vocal societies to give a much needed respite to Haendel's
+threadbare "Messiah."
+
+When one considers the largeness of the works to which Paine has
+devoted himself chiefly, he can be excused for the meagreness and
+comparative unimportance of his smaller works for piano and vocal
+solo. The only song of his I care for particularly is "A Bird upon a
+Rosy Bough" (op. 40), which is old-fashioned, especially in
+accompaniment, yet at times delicious. The song "Early Spring-time" is
+most curiously original.
+
+Of piano pieces there are a sprightly "Birthday Impromptu" and a fuga
+giocosa, which deals wittily with that theme known generally by the
+words "Over the Fence Is Out!" The "Nocturne" begins like Schumann,
+falls into the style of his second Novellette, thence to the largo of
+Beethoven's Sonata (op. 10, No. 3), thence to Chopinism, wherein it
+ends, an interesting assemblage withal!
+
+A long "Romance" for the piano is marked by some excellent incidents
+and much passion, but it lacks unity. It is the last work in "An Album
+of Pianoforte Pieces," which is otherwise full of rare delights. It is
+made up of opera 25, 26, and 39. Opus 25 contains four characteristic
+pieces,--a "Dance" full of dance-rapture, a most original "Impromptu,"
+and a "Rondo Giocoso," which is just the kind of brilliantly witty
+scherzo whose infrequency in American music is so lamentable and so
+surprising. Opus 26 includes ten sketches, all good, especially
+"Woodnotes," a charming tone-poem, the deliciously simple "Wayside
+Flowers," "Under the Lindens," which is a masterpiece of beautiful
+syncopation, a refreshingly interesting bit in the hackneyed
+"Millstream" form, and a "Village Dance," which has much of that
+quaint flavor that makes Heller's etudes a perennial delight.
+
+Besides these, there are a number of motets, organ preludes, string
+quartettes, concert pieces for violin, 'cello, piano, and the like, all
+contributing to the furtherance of an august fame.
+
+
+_Dudley Buck._
+
+Music follows the laws of supply and demand just as the other
+necessities of life do. But before a demand could exist for it in its
+more austere and unadulterated forms, the general taste for it must be
+improved. For this purpose the offices of skilful compromisers were
+required, composers who could at the same time please the popular
+taste and teach it discrimination. Among these invaluable workers, a
+high place belongs, in point both of priority and achievement, to
+Dudley Buck. He has been a powerful agent, or reagent, in converting
+the stagnant ferment into a live and wholesome ebullition, or as the
+old Greek evolutionists would say, starting the first progress in the
+primeval ooze of American Philistinism.
+
+A more thoroughly New England ancestry it would be hard to find. The
+founder of the family came over from England soon after the
+_Mayflower_ landed. Buck was named after Governor Dudley of the
+Plymouth Colony. He was born at Hartford, March 10, 1839. His father
+was a prosperous shipping merchant, one of whose boats, during the
+Civil War, towed the _Monitor_ from New York to Fortress Monroe on the
+momentous voyage that destroyed the _Merrimac's_ usefulness.
+
+Buck, though intended for commercial life, borrowed a work on
+thorough-bass and a flute and proceeded to try the wings of his muse.
+A melodeon supplanted the flute, and when he was sixteen he attained
+the glory of a piano, a rare possession in those times. (Would that it
+were rarer now!) He took a few lessons and played a church-organ for a
+salary,--a small thing, but his own.
+
+After reaching the junior year in Trinity College, he prevailed upon
+his parents to surrender him to music, an almost scandalous career in
+the New England mind of that day, still unbleached of its Blue Laws.
+
+At the age of nineteen he went to Leipzig and entered the Conservatory
+there, studying composition under Hauptmann and E.F. Richter,
+orchestration under Rietz, and the piano under Moscheles and Plaidy.
+Later he went to Dresden and studied the organ with Schneider.
+
+After three years in Germany, he studied for a year in Paris, and came
+home, settling down in Hartford as church-organist and teacher. He
+began a series of organ-concert tours lasting fifteen years. He played
+in almost every important city and in many small towns, popularizing
+the best music by that happy fervor of interpretation which alone is
+needed to bring classical compositions home to the public heart. In
+1869 he was called to the "mother-church" of Chicago. In the Chicago
+fire he lost many valuable manuscripts, including a concert overture
+on Drake's exquisite poem, "The Culprit Fay," which must be especially
+regretted. He moved his family to Boston, assuming in ten days the
+position of organist at St. Paul's; and later he accepted charge of
+"the great organ" at Music Hall,--that organ of which Artemus Ward
+wrote so deliciously.
+
+In 1875 Theodore Thomas, whose orchestra had performed many of Buck's
+compositions, invited him to become his assistant conductor at the
+Cincinnati Music Festival and at the last series of concerts at the
+Central Park Garden in New York. Buck accepted and made his home in
+Brooklyn, where he has since remained as organist of the Holy Trinity
+Church, and conductor of the Apollo Club, which he founded and brought
+to a high state of efficiency, writing for it many of his numerous
+compositions for male voices.
+
+Buck's close association with church work has naturally led him
+chiefly into sacred music, and in this class of composition he is by
+many authorities accorded the very highest place among American
+composers. He has also written many organ solos, sonatas, marches, a
+pastorale, a rondo caprice, and many concert transcriptions, as well
+as a group of etudes for pedal phrasing, and several important
+treatises on various musical topics. His two "Motett Collections" were
+a refreshing relief and inspiration to church choirs thirsty for
+religious Protestant music of some depth and warmth.
+
+In the cantata form Buck also holds a foremost place. In 1876 he was
+honored with a commission to set to music "The Centennial Meditation
+of Columbia," a poem written for the occasion by the Southern poet,
+Sidney Lanier. This was performed at the opening of the Philadelphia
+Exhibition by a chorus of one thousand voices, an organ, and an
+orchestra of two hundred pieces under the direction of Theodore
+Thomas. In 1874 he made a metrical version of "The Legend of Don
+Munio" from Irving's "Alhambra," and set it to music for a small
+orchestra and chorus. Its adaptability to the resources of the vocal
+societies of smaller cities has made it one of his most popular works.
+
+Another bit of Washington Irving is found in Buck's cantata, "The
+Voyage of Columbus," the libretto for which he has taken from Irving's
+"Life of Columbus." It consists of six night-scenes,--"The Chapel of
+St. George at Palos," "On the Deck of the _Santa Maria_," "The Vesper
+Hymn," "Mutiny," "In Distant Andalusia," and "Land and Thanksgiving."
+The opportunities here for Buck's skilful handling of choruses and his
+dramatic feeling in solos are obvious, and the work has been
+frequently used both in this country and in Germany with much success.
+Buck, in fact, made the German libretto as well as the English, and
+has written the words for many of his compositions. His largest work
+was "The Light of Asia," composed in 1885 and based on Sir Edwin
+Arnold's epic. It requires two and one-half hours for performance and
+has met the usual success of Buck's music; it was produced in London
+with such soloists as Nordica, Lloyd, and Santley. It has been
+occasionally given here.
+
+He has found the greater part of his texts in American poetry,
+particularly in Lanier, Stedman, and Longfellow, whose "King Olaf's
+Christmas" and "Nun of Nidaros" he has set to music, as well as his
+"Golden Legend," which won a prize of one thousand dollars at the
+Cincinnati Festival in a large competition. His work is analyzed very
+fully in A.J. Goodrich' "Musical Analysis."
+
+[Music:
+
+    High in the purer air,
+    High as the heart's desire,
+    In a passion of longing and fire,
+    A bird sings sweet and fair;
+    While a sunbeam, cheery and strong,
+    Answers the joy of the song,
+    And Spring, fair Spring is coming!
+
+Copyright, 1893, by G. Schirmer.
+
+FRAGMENT FROM "SPRING'S AWAKENING," BY MR. BUCK.]
+
+Here, as in his symphonic overture to Scott's "Marmion," Buck has
+adopted the Wagnerian idea of the _leit-motif_ as a vivid means of
+distinguishing musically the various characters and their varying
+emotions. His music is not markedly Wagnerian, however, in other
+ways, but seems to show, back of his individuality, an assimilation of
+the good old school of canon and fugue, with an Italian tendency to
+the declamatory and well-rounded melodic period.
+
+It might be wished that in his occasional secular songs Buck had
+followed less in the steps of the Italian aria and the English ballad
+and adopted more of the newer, nobler spirit of the _Lied_ as Schumann
+and Franz represent it, and as many of our younger Americans have done
+with thorough success and not a little of exaltation. Note for
+instance the inadequacy of the old-style balladry to both its own
+opportunity and the otherwise-smothered fire of such a poem as Sidney
+Lanier's "Sunset," which is positively Shakespearean in its passionate
+perfection.
+
+In religious music, however, Mr. Buck has made a niche of its own for
+his music, which it occupies with grace and dignity.
+
+
+_Horatio W. Parker._
+
+[Illustration: Autograph of Horatio W. Parker]
+
+[Illustration: HORATIO W. PARKER.]
+
+When one considers the enormous space occupied by the hymn-tune in New
+England musical activity, it is small wonder that most of its
+composers should display hymnal proclivities. Both Buck and Parker
+are natives of New England.
+
+Parker was born, September 15, 1863, at Auburndale, Mass. His mother
+was his first teacher of music. She was an organist, and gave him a
+thorough technical schooling which won the highest commendation later
+from Rheinberger, who entrusted to him the first performance of a new
+organ concerto. After some study in Boston under Stephen A. Emery,
+John Orth, and G.W. Chadwick, Parker went to Munich at the age of
+eighteen, where he came under the special favor of Rheinberger, and
+where various compositions were performed by the Royal Music School
+orchestra. After three years of Europe, he returned to America and
+assumed the direction of the music at St. Paul's school. He has held
+various posts since, and has been, since 1894, the Battell Professor
+of Music at Yale.
+
+His rather imposing list of works includes a symphony (1885), an
+operetta, a concert overture (1884), an overture, "Regulus" (1885),
+performed in Munich and in London, and an overture, "Count Robert of
+Paris" (1890), performed in New York, a ballad for chorus and
+orchestra, "King Trojan," presented in Munich in 1885, the
+Twenty-third Psalm for female chorus and orchestra (1884), an "Idylle"
+(1891); "The Normans," "The Kobolds," and "Harold Harfager," all for
+chorus and orchestra, and all dated 1891; an oratorio, three or more
+cantatas, and various bits of chamber-music. His opus number has
+already reached forty-three, and it is eked out to a very small degree
+by such imponderous works as organ and piano solos, hymns, and songs.
+In 1893, Parker won the National Conservatory prize for a cantata, and
+in 1898 the McCagg prize for an a cappella chorus.
+
+Parker's piano compositions and secular songs are not numerous. They
+seem rather the incidental byplays and recreations of a fanry chiefly
+turned to sacred music of the larger forms.
+
+Opus 19 consists of "Four Sketches," of which the "Etude Melodieuse"
+is as good as is necessary in that overworked style, wherein a thin
+melody is set about with a thinner ripple of arpeggios. The "Romanza"
+is lyric and delightful, while the "Scherzino" is delicious and crisp
+as celery; it is worthy of Schumann, whom it suggests, and many of
+whose cool tones and mannerisms it borrows.
+
+The "5 Morceaux Characteristiques" are on the whole better. The
+"Scherzo" is shimmering with playfulness, and, in the Beethoven
+fashion, has a tender intermezzo amoroso. This seriousness is enforced
+with an ending of a most plaintive nature. The "Caprice" is brilliant
+and whimsical, with some odd effects in accent. The "Gavotte" makes
+unusual employment of triplets, but lacks the precious yeast of
+enthusiasm necessary to a prime gavotte.
+
+This enthusiasm is not lacking however from his "Impromptu," and it
+makes his "Elegie" a masterly work, possibly his best in the smaller
+lines. This piece is altogether elegiac in spirit, intense in its
+sombrest depths, impatient with wild outcries,--like Chopin's "Funeral
+March,"--and working up to an immense passion at the end. This
+subsides in ravishingly liquid arpeggios,--"melodious tears"?--which
+obtain the kindred effect of Chopin's tinkling "Berceuse" in a
+slightly different way. This notable work is marred by an interlude in
+which the left hand mumbles harshness in the bass, while the right
+hand is busy with airy fioriture. It is too close a copy of the finish
+of the first movement of Beethoven's "Moonlight" sonata. The
+lengthening skips of the left hand are also Beethovenesque trademarks.
+
+Parker is rather old-fashioned in his forms of musical speech. That
+is, he has what you might call the narrative style. He follows his
+theme as an absorbing plot, engaging enough in itself, without
+gorgeous digressions and pendent pictures. His work has something of
+the Italian method. A melody or a theme, he seems to think, is only
+marred by abstruse harmony, and is endangered by diversions. One might
+almost say that a uniform lack of attention to color-possibilities and
+a monotonous fidelity to a cool, gray tone characterize him. His
+fondness for the plain, cold octave is notable. It is emphasized by
+the ill-success of his "Six Lyrics for Piano, without octaves." They
+are all of thin value, and the "Novelette" is dangerously
+Schumannesque.
+
+The "Three Love Songs" are happy, "Love's Chase" keeping up the arch
+raillery and whim of Beddoe's verse. "Orsame's Song" is smooth and
+graceful, ending with a well-blurted, abrupt "The devil take her!" The
+"Night-piece to Julia" is notable. We have no poet whose lyrics are
+harder to set to music than good Robin Herrick's. They have a lilt of
+their own that is incompatible with ordinary music. Parker has,
+however, been completely successful in this instance. A mysterious,
+night-like carillon accompaniment, delicate as harebells, gives sudden
+way to a superb support of a powerful outburst at the end of the song.
+
+[Music:
+
+    The stars of the night
+    Will lend thee their light,
+    Like tapers without number.
+    Then, Julia let me woo thee,
+    Thus to come unto me;
+    And when I shall meet
+    Thy silvery feet
+    My soul I'll pour into thee,
+    My soul I'll pour into thee, into thee.
+
+Copyright, 1886, by Arthur P. Schmidt & Co.
+
+FRAGMENT OF MR. PARKER'S SONG, "NIGHT-PIECE TO JULIA."]
+
+The "Six Songs" show not a little of that modernity and opulent color
+I have denied to the most of Mr. Parker's work. "Oh, Ask Me Not" is
+nothing less than inspiration, rapturously beautiful, with a rich use
+of unexpected intervals. The "Egyptian Serenade" is both novel and
+beautiful. The other songs are good; even the comic-operatic flavor of
+the "Cavalry Song" is redeemed by its catchy sweep.
+
+Among a large number of works for the pipe-organ, few are so marked by
+that purposeless rambling organists are so prone to, as the
+"Fantaisie." The "Melody and Intermezzo" of opus 20 makes a sprightly
+humoresque. The "Andante Religioso" of opus 17 has really an
+allegretto effect, and is much better as a gay pastorale than as a
+devotional exercise. It is much more shepherdly than the avowed
+"Pastorale" (opus 20), and almost as much so as the "Eclogue,"
+delicious with the organ's possibilities for reed and pipe effects.
+The "Romanza" is a gem of the first water. A charming quaint effect
+is got by the accompaniment of the air, played legato on the swell,
+with an echo, staccato, of its own chords on the great. The interlude
+is a tender melody, beautifully managed. The two "Concert Pieces" are
+marked by a large simplicity in treatment, and have this rare merit,
+that they are less gymnastic exercises than expressions of feeling. A
+fiery "Triumphal March," a delightful "Canzonetta," and a noble
+"Larghetto," of sombre, yet rich and well-modulated, colors, complete
+the list of his works for the organ. None of these are registered with
+over-elaboration.
+
+To sacred music Parker has made important contributions. Besides a
+dignified, yet impassioned, complete "Morning and Evening Service for
+the Holy Communion," he has written several single songs and anthems.
+
+It is the masterwork, "Hora Novissima," however, which lifts him above
+golden mediocrity. From the three thousand lines of Bernard of Cluny's
+poem, "De Contemptu Mundi," famous since the twelfth century, and made
+music with the mellowness of its own Latin rhyme, Mrs. Isabella G.
+Parker, the composer's mother, has translated 210 lines. The English
+is hardly more than a loose paraphrase, as this random parallel
+proves:
+
+    Pars mea, Rex meus,    Most Mighty, most Holy,
+    In proprio Deus,       How great is the glory,
+      Ipse decore.           Thy throne enfolding.
+
+Or this skilful evasion:
+
+    Tunc Jacob, Israel,    All the long history,
+    Et Lia, tunc Rachel    All the deep mystery
+      Efficietur.            Through ages hidden.
+
+But it is perhaps better for avoiding the Charybdis of literalness.
+
+Those who accuse Rossini's "Stabat Mater" of a fervor more theatric
+than religious, will find the same faults in Parker's work, along with
+much that is purely ecclesiastical. Though his sorrow is apt to become
+petulance, there is much that is as big in spirit as in handling. The
+work is frequently Mendelssohnian in treatment. An archaism that might
+have been spared, since so little of the poem was retained, is the sad
+old Haendelian style of repeating the same words indefinitely, to all
+neglect of emptiness of meaning and triteness. Thus the words "_Pars
+mea, Rex meus_" are repeated by the alto exactly thirteen times!
+which, any one will admit, is an unlucky number, especially since the
+other voices keep tossing the same unlucky words in a musical
+battledore.
+
+The especially good numbers of the work (which was composed in 1892,
+and first produced, with almost sensational success, in 1893) are: the
+magnificent opening chorus; the solo for the soprano; the large and
+fiery finale to Part I.; the superb tenor solo, "Golden Jerusalem,"
+which is possibly the most original and thrilling of all the numbers,
+is, in every way, well varied, elaborated, and intensified, and
+prepares well for the massive and effective double chorus, "Stant Syon
+Atria," an imposing structure whose ambition found skill sufficing; an
+alto solo of original qualities; and a finale, tremendous, though
+somewhat long drawn out. Of this work, so careful a critic as W.J.
+Henderson was moved to write:
+
+    "His melodic ideas are not only plentiful, but they are
+    beautiful, ... graceful and sometimes splendidly vigorous....
+    There is an a cappella chorus which is one of the finest
+    specimens of pure church polyphony that has been produced in
+    recent years.... It might have been written by Hobrecht,
+    Brumel, or even Josquin des Pres. It is impossible to write
+    higher praise than this.... The orchestration is
+    extraordinarily ... rich. As a whole ... the composition
+    ... may be set down as one of the finest achievements of the
+    present day."
+
+And Philip Hale, a most discriminant musical enthusiast, described the
+chorus "Pars Mea" as:
+
+    "A masterpiece, true music of the church," to which "any
+    acknowledged master of composition in Europe would gladly
+    sign his name.... For the a cappella chorus there is nothing
+    but unbounded praise.... Weighing words as counters, I do not
+    hesitate to say that I know of no one in the country or in
+    England who could by nature and by student's sweat have
+    written those eleven pages.... I have spoken of Mr. Parker's
+    quasi-operatic tendency. Now he is a modern. He has shown in
+    this very work his appreciation and his mastery of antique
+    religious musical art. But as a modern he is compelled to
+    feel the force of the dramatic in religious music.... But his
+    most far-reaching, his most exalted and rapt conception of
+    the bliss beyond compare is expressed in the language of
+    Palestrina and Bach."
+
+In September, 1899, the work was produced with decisive success in
+London, Parker conducting.
+
+Besides this, there are several secular cantatas, particularly "King
+Trojan," which contains a singable tune for Trojan with many delicate
+nuances in the accompaniment, and a harp-accompanied page's song that
+is simply ambrosial. Then there is Arlo Bates' poem, "The Kobolds,"
+which Parker has blessed with music as delicate as the laces of
+gossamer-spiders.
+
+His latest work is devoted to the legend of St. Christopher, and
+displays the same abilities for massive and complex scoring whenever
+the opportunity offers. On the other hand, the work discloses Parker's
+weaknesses as well, for the libretto drags in certain love episodes
+evidently thought desirable for the sake of contrast and yet
+manifestly unnecessary to the story. The character of the queen, for
+instance, is quite useless, and, in fact, disconcerting. The love
+scene between the king and queen reminds one uncomfortably of Tristan
+and Isolde, while a descending scale constantly used throughout the
+work in the accompaniment incessantly suggests the "Samson and
+Delilah" of Saint-Saens.
+
+In spite of flaws, however,--flaws are to be had everywhere for the
+looking,--Parker's work has its fine points. The struggle between the
+demons and the singers of the sacred Latin Hymn has made excellent use
+of the Tannhaeuser effect. The Cathedral scene shows Parker's resources
+in the massive use of choruses to be very large. The barcarolling
+billows of the river are ravishingly written, and the voice of the
+child crying out is effectively introduced. The song the giant
+Christopher sings through the storm is particularly superb.
+
+
+_Frank van der Stucken._
+
+[Illustration: FRANK VAN DER STUCKEN.]
+
+On the bead-roll of those who have had both the ability and the
+courage to take a stand for our music, the name of Frank van der
+Stucken must stand high. His Americanism is very frail, so far as
+birth and breeding count, but he has won his naturalization by his
+ardor for native music.
+
+Van der Stucken's life has been full of labors and honors. He was born
+at Fredericksburg, Texas, in 1858, of a Belgian father and a German
+mother. After the Civil War, in which the father served in the
+Confederate army as a captain of the Texan cavalry, the family
+returned to Belgium, where, at Antwerp, Van der Stucken studied under
+Benoit. Here some of his music was played in the churches, and a
+ballet at the Royal Theatre.
+
+In 1878 he began studies in Leipzig, making important acquaintances,
+such as Reinecke, Grieg, and Sinding. His first male chorus was sung
+there, with great success. Of his fifth opus, consisting of nine
+songs, Edvard Grieg wrote an enthusiastic criticism. After travelling
+for some time, Van der Stucken was appointed kapellmeister at the
+Breslau Stadt-Theatre. This was his debut as conductor. Here he
+composed his well-known suite on Shakespeare's "Tempest," which has
+been performed abroad and here. Here, also, he wrote a "Festzug," an
+important work in Wagnerian style, and his passionate "Pagina
+d'Amore," which, with the published portions of his lyric drama,
+"Vlasda," has been performed by many great orchestras.
+
+In 1883, Van der Stucken met Liszt, at Weimar, and under his auspices
+gave a concert of his own compositions, winning the congratulations of
+Grieg, Lassen, Liszt, and many other celebrated musicians. A prominent
+German critic headed his review of the performance: "A new star on the
+musical firmament."
+
+Van der Stucken was now called to the directorship of the famous Arion
+Male Chorus in New York, a position which he held for eleven years
+with remarkable results. In 1892 he took his chorus on a tour in
+Europe and won superlative praises everywhere.
+
+In 1885 and successive years Van der Stucken conducted orchestral
+"Novelty Concerts," which have an historical importance as giving the
+first hearing to symphonic works by American composers. In Berlin and
+in Paris he also gave our musicians the privilege of public
+performance. From 1891 to 1894 he devoted himself to reforming the
+Northeastern Saeengerbund, achieving the enormous task of making five
+thousand male voices sing difficult music artistically. Since 1895 Van
+der Stucken has been conductor of the newly formed Cincinnati Symphony
+Orchestra, as well as dean of the faculty of the College of Music in
+that city. The influence of this man, who is certainly one of the most
+important musicians of his time, is bringing Cincinnati back to its
+old musical prestige.
+
+As a composer, Van der Stucken shows the same originality and power
+that characterize him as an organizer. His prelude to the opera
+"Vlasda" (op. 9) is one long rapture of passionate sweetness, superbly
+instrumented. An arrangement of it has been made for the piano for
+four hands by Horatio W. Parker.
+
+Van der Stucken's music to "The Tempest" (op. 8) is published in three
+forms. Besides the orchestral score, there is an arrangement for piano
+solo, by A. Siloti, of the "Dance of the Gnomes," "Dance of the
+Nymphs," and "Dance of the Reapers," the first and third being
+especially well transcribed. For four hands, Hans Sitt has arranged
+these three dances, as well as a short but rich "Exorcism," some
+splendid melodramatic music, and the rattling grotesque, "The
+Hound-chase after Caliban." All these pieces are finely imagined and
+artistically handled.
+
+For piano solo, there is a group of three Miniatures (op. 7). The
+first is an Albumblatt of curious dun colors; the second is a
+Capriccietto, a strange whim; the third is a beautiful bit called "May
+Blossom."
+
+[Music:
+
+    Der Stunde sei geflucht,
+    wo ich dein Herz gesucht,
+    wenn in dir diese Liebe
+    statt milder Freudentriebe
+    soll tragen herbe Frucht!
+    Gesegnet ist die Stunde,
+    sprach sie mit suessem Munde,
+    mir ist kein Leid geschehn
+    den Himmel fuehl' ich stehn
+    in meines Herzens Grunde.
+
+    That hour with curse be fraught,
+    In which thy heart I sought,
+    If I, in love bestowing,
+    Instead of gladness knowing,
+    A bitter grief have bought:
+    "My soul that hour e'er blesses,"
+    A rosy mouth confesses,
+    "Thy love is all I crave,
+    Then heav'n itself I have
+    Within my heart's recesses."
+
+Copyright, 1892, by Friedrich Luckhardt, Berlin.
+
+By permission of Luckhardt & Belder, New York.
+
+FRAGMENT OF MR. VAN DER STUCKEN'S "DIE STUNDE SEI GESEGNET."]
+
+Of Van der Stucken's songs I have seen two groups, the first a setting
+of five love lyrics by Rueckert. None of these are over two pages long,
+except the last. They are written in the best modern _Lied_ style, and
+are quite unhackneyed. It is always the unexpected that happens,
+though this unexpected thing almost always proves to be a right thing.
+Without any sense of strain or bombast he reaches superb climaxes;
+without eccentricity he is individual; and his songs are truly
+interpreters of the words they express. Of these five, "Wann die Rosen
+aufgeblueht" is a wonderfully fine and fiery work; "Die Stunde sei
+gesegnet" has one of the most beautiful endings imaginable; "Mir ist,
+nun ich die habe" has a deep significance in much simplicity, and its
+ending, by breaking the rule against consecutive octaves, attains, as
+rule-breakings have an unpleasant habit of doing, an excellent effect.
+"Liebste, nur dich seh'n" is a passionate lyric; and "Wenn die
+Voeglein sich gepaart" is florid and trilly, but legitimately so; it
+should find much concert use. These songs, indeed, are all more than
+melodies; they are expressions.
+
+Of the second group of eight songs for low voice, "O Jugendlust" is
+athrill with young ecstasy; "Einsame Thraene" has superb coloring, all
+sombre, and a tremendous climax; "Seeligkeit" is big with emotion and
+ravishing in harmony, "Ein Schaeferlied" is exquisite, "Von schoen
+Sicilien war mein Traum" begins in the style of Lassen, but ends with
+a strength and vigor far beyond that tender melodist. Besides these
+groups, there is a rich lyric "Moonlight;" and there are many part
+songs.
+
+A work of considerable importance written many years before and
+presented by Franz Liszt at Weimar had its first American production
+in 1899, at Cincinnati and New York. It is a symphonic prologue to
+Heine's tragedy, "William Ratcliff." The different psychological
+phases of the tragedy are presented by characteristic motives which
+war among themselves. The Scottish locale is indicated vividly, and
+the despair of the lovers presented in one place by the distortion and
+rending of all the principal motives. A dirge with bells and a final
+musing upon, and resignation before, implacable Fate give a dignified
+close to a work in which passion is exploited with erudition and
+modernity.
+
+
+_W.W. Gilchrist._
+
+The prize competition has its evils, unquestionably; and, in a place
+of settled status, perhaps, they outnumber its benefits. But in
+American music it has been of material encouragement to the production
+of large works. In the first place, those who do not win have been
+stimulated to action, and have at least their effort for their pains.
+In the second place, those who manage to win are several hundred
+dollars the richer, and may offer the wolf at the door a more
+effective bribe than empty-stomached song.
+
+In the city of Philadelphia lives a composer of unusual luck in
+prize-winning. That large and ancient town is not noteworthy for its
+activity in the manufacture of original music. In fact, some one has
+spoken of it as "a town where the greatest reproach to a musician is
+residence there." The city's one prominent music-writer is William
+Wallace Gilchrist; but he stands among the first of our composers. He
+is especially interesting as a purely native product, having never
+studied abroad, and yet having won among our composers a foremost
+place in the larger forms of composition. He was born in Jersey City,
+January 8, 1846; his father was a Canadian, his mother a native of
+this country; both were skilled in music, and his home life was full
+of it, especially of the old church music. After a youth of the usual
+school life he tried various pursuits,--photography, law, business;
+but music kept calling him. A good barytone voice led him to join
+vocal societies, and at length he made music his profession, after
+studying voice, organ, and composition with Dr. H.A. Clarke, of
+Philadelphia. He was a successful soloist in oratorio for some years,
+but gradually devoted himself to church work and conducting, and to
+composition, though none of his music was published till he was
+thirty-two, when he took two prizes offered by the Abt Male Singing
+Society of Philadelphia.
+
+Shortly after taking the Abt Society prize, he won three offered by
+the Mendelssohn Glee Club of New York, and in 1884 he took the $1,000
+prize offered by the Cincinnati Festival Association.
+
+This last was gained by his setting of the Forty-sixth Psalm for
+soprano solo, chorus, and orchestra. The overture opens with a noble
+andante contemplatif, which deserves its epithet, but falls after a
+time into rather uninteresting moods, whence it breaks only at the
+last period. The opening chorus, "God Is Our Refuge and Strength,"
+seems to me to be built on a rather trite and empty subject, which it
+plays battledore and shuttlecock with in the brave old pompous and
+canonic style, which stands for little beyond science and labor. It is
+only fair to say, however, that A.J. Goodrich, in his "Musical
+Analysis," praises "the strength and dignity" of this chorus; and
+gives a minute analysis of the whole work with liberal thematic
+quotation. The psalm, as a whole, though built on old lines, is built
+well on those lines, and the solo "God Is in the Midst of Her" is
+taken up with especially fine effect by the chorus. "The Heathen
+Raged" is a most ingeniously complicated chorus also.
+
+The cantata, "Prayer and Praise," is similarly conventional, and
+suffers from the sin of repetition, but contains much that is strong.
+
+Of the three prize male choruses written for the Mendelssohn Glee
+Club, the "Ode to the Sun" is the least successful. It is written to
+the bombast of Mrs. Hemans, and is fittingly hysterical; occasionally
+it fairly shrieks itself out. "In Autumn" is quieter; a sombre work
+with a fine outburst at the end. "The Journey of Life" is an andante
+misterioso that catches the gloom of Bryant's verse, and offers a good
+play for that art of interweaving voices in which Gilchrist is an
+adept.
+
+"The Uplifted Gates" is a chorus for mixed voices with solos for
+sopranos and altos; it is elaborate, warm, and brilliant. In lighter
+tone are the "Spring Song," a trio with cheap words, but bright music
+and a rich ending, and "The Sea Fairies," a chorus of delightful
+delicacy for women's voices. It has a piano accompaniment for four
+hands. In this same difficult medium of women's voices is "The
+Fountain," a surpassingly beautiful work, graceful and silvery as a
+cascade. It reminds one, not by its manner at all, but by its success,
+of that supreme achievement, Wagner's song of the "Rhinemaidens."
+The piano accompaniment to Gilchrist's chorus aids the general
+picture.
+
+A thoroughly charming work is the setting of Lowell's poem, "The
+Rose," for solos and chorus. The dreariness of the lonely poet and the
+lonely maid contrasts strongly with the rapture of their meeting. As
+the first half of the poem is morose yet melodious, the latter is
+bright with ecstasy; the ending is of the deepest tenderness.
+
+By all odds the best of these choruses, however, is "The Legend of the
+Bended Bow," a fine war-chant by Mrs. Hemans. Tradition tells that in
+ancient Britain the people were summoned to war by messengers who
+carried a bended bow; the poem tells of the various patriots
+approached. The reaper is bidden to leave his standing corn, the
+huntsman to turn from the chase; the chieftain, the prince, mothers,
+sisters, sweethearts, and the bards are all approached and counselled
+to bravery. After each episode follow the words "And the bow passed
+on," but the music has been so well managed that the danger of such a
+repetition is turned into grim force. The only prelude is five great
+blasts of the horns. A brawny vigor is got by a frequent use of
+imitation and unison in the voices. The choric work is marked
+throughout with the most intense and epic power, almost savagery; a
+magnificent martial zest. The climax is big. It is certainly one of
+the best things of its kind ever done over here.
+
+Another work of fine quality throughout is "A Christmas Idyl," for
+solos, chorus, and orchestra. A terrible sombreness is achieved in its
+former half by a notable simplicity. The latter part is in brighter
+tone; the solo, "And Thou, Bethlehem," is especially exultant. In
+manuscript is "An Easter Idyl," of large proportions, for solos,
+chorus, and orchestra, or organ.
+
+In the single songs the influence of Gilchrist's early training in
+hymns is patent. In only a few instances do they follow the latter-day
+methods of Schumann and Franz. "A Song of Doubt and a Song of Faith"
+is possibly his best vocal solo. It begins with a plaint, that is full
+of cynic despair; thence it breaks suddenly into a cheerful andante.
+"The Two Villages" is a strong piece of work on the conventional
+lines of what might be called the Sunday ballad. "A Dirge for Summer"
+has a marked originality, and is of that deep brooding which is
+particularly congenial to Gilchrist's muse. The Scotch songs are
+charming: "My Heart is Sair" is full of fine feeling, and must be
+classed among the very best of the many settings of this lyric of
+Burns'.
+
+Most modern in feeling of all Gilchrist's vocal solos is the group of
+"Eight Songs." They interpret the text faithfully and the
+accompaniment is in accord with the song, but yet possessed of its own
+individuality. "A Love Song" is tender and has a well-woven
+accompaniment; "The Voice of the Sea" is effective, but hardly attains
+the large simplicity of Aldrich' poem; "Autumn" is exquisitely cheery;
+"Goldenrod" is ornately graceful, while "The Dear Long Ago" is quaint;
+"Lullaby" is of an exquisitely novel rhythm in this overworked form.
+
+[Music: A LOVE SONG.
+
+By Barry Cornwall.
+
+Music by W.W. Gilchrist.
+
+    Love me if I live,
+    Love me if I die.
+    What to me is life or death,
+    So that thou, that thou be near.
+    What to me is life or death,
+    So that thou be near,
+    So that thou be near.
+
+Copyright, 1885, by Arthur P. Schmidt & Co.
+
+A FRAGMENT.]
+
+There is much contrast between the lightness of his book, "Songs for
+the Children," and his ponderous setting of Kipling's "Recessional."
+The treatment of Paul Laurence Dunbar's "Southern Lullaby" is unusual,
+and the songs, "My Ladye" and "The Ideal," both in MS., are
+noteworthy.
+
+Gilchrist has written a vast amount of religious music, including
+several "Te Deums," of which the one in C and that in A flat are the
+best, to my thinking. He has written little for the piano except a
+series of duets, of which the charming "Melodie" and the fetching
+"Styrienne" are the best.
+
+It is by his orchestral works, however, that he gains the highest
+consideration. These include a symphony for full orchestra, which has
+been frequently performed with success; a suite for orchestra; a suite
+for piano and orchestra; as well as a nonet, a quintet, and a trio,
+for strings and wind. None of these have been published, but I have
+had the privilege of examining some of the manuscripts.
+
+The spirit and the treatment of these works is strongly classical.
+While the orchestration is scholarly and mellow, it is not in the
+least Wagnerian, either in manipulation or in lusciousness. The
+symphony is not at all programmatic. The Scherzo is of most exuberant
+gaiety. Its accentuation is much like that in Beethoven's piano
+sonata (op. 14, No. 2). Imitation is liberally used in the scoring,
+with a delightfully comic effect as of an altercation. The symphony
+ends with a dashing finale that is stormy with cheer. Gilchrist is at
+work upon a second symphony of more modernity.
+
+The "Nonet" is in G minor, and begins with an Allegro in which a most
+original and severe subject is developed with infinite grace and
+an unusually rich color. The Andante is religioso, and is fervent
+rather than sombre. The ending is especially beautiful. A sprightly
+Scherzo follows. It is most ingeniously contrived, and the effects are
+divided with unusual impartiality among the instruments. A curious and
+elaborate allegro molto furnishes the finale, and ends the "Nonet"
+surprisingly with an abrupt major chord.
+
+The opening Allegro of the "Quintet" begins with a 'cello solo of
+scherzesque quality, but as the other voices join in, it takes on a
+more passionate tone, whence it works into rapturously beautiful moods
+and ends magnificently. The piano part has a strong value, and even
+where it merely ornaments the theme carried by the strings, it is
+fascinating. The Scherzo is again of the Beethoven order in its
+contagious comicality. The piano has the lion's share of it at first,
+but toward the last the other instruments leave off embroidery and
+take to cracking jokes for themselves. The Andante is a genuinely fine
+piece of work. It ranges from melting tenderness to impassioned rage
+and a purified nobility. The piano part is highly elaborated, but the
+other instruments have a scholarly, a vocal, individuality. I was
+shocked to see a cadenza for the piano just before the close, but its
+tender brilliance was in thorough accord with the sincerity of the
+movement. The "Quintet" ends with a splendid Allegro.
+
+In MS. are three interesting works for the violin, a Rhapsody, a
+Perpetual Motion, and a Fantasie.
+
+This last has a piano accompaniment of much ingenuity. The fantasial
+nature of the work lies principally in its development, which is
+remarkably lyrical, various melodies being built up beautifully on
+fractions of the main subjects. There is nothing perfunctory, and the
+work is full of art and appeal. Gilchrist is one of our most polished
+composers contrapuntally, but has been here in a very lyric mood.
+
+He is the founder and conductor of the Mendelssohn Club of
+Philadelphia, an unusually effective organization; one of the founders
+of the local Manuscript Club; the conductor of a choral society of two
+hundred voices, at Harrisburg, and the director of two church choirs.
+
+
+_G.W. Chadwick._
+
+[Illustration: Autograph of G.W. Chadwick]
+
+[Illustration: GEORGE WHITEFIELD CHADWICK.]
+
+One of the most sophisticated, and, at the same time, most eclectic of
+native music-makers, is George W. Chadwick, to whom the general
+consent of authorities would grant a place among the very foremost of
+the foremost American composers.
+
+His reputation rests chiefly on his two symphonies, a number of
+concert overtures, and many pieces of chamber-music, which are much
+praised. Chadwick was born at Lowell, Mass., November 13, 1854. His
+parents were American, and it was not till 1877, after studying with
+Eugene Thayer in Boston, and teaching music in the college at Olivet,
+Mich., that Chadwick studied for two years at Leipzig, under Jadassohn
+and Reinecke, and later at Munich for a year under Rheinberger. In
+1880 he returned to America and settled in Boston, where he has since
+lived, as organist, teacher, and conductor, an important figure in
+the town's musical life.
+
+Among his few works for the piano, are "Six Characteristic Pieces"
+(op. 7). The "Reminiscence of Chopin" is an interesting and skilful
+chain of partial themes and suggestions from Chopin. The "Etude" is a
+monotonous study in a somewhat Schumannesque manner, with a graceful
+finish. The "Congratulation" is a cheerful bagatelle; the "Irish
+Melody" is sturdy, simple, and fetching; but the "Scherzino" is a hard
+bit of humor with Beethoven mannerisms lacking all the master's
+unction.
+
+The opus ends with an unfortunate composition inexcusably titled
+"Please Do!"
+
+There are two bright "Caprices" and three excellent waltzes, of which
+the third is the best. It is a dreamy, tender work on a theme by
+"B.J.L.," which refers, I presume, to Mr. B.J. Lang.
+
+Chadwick has done a vast amount of part-song writing. His "Lovely
+Rosabelle" is for chorus and orchestra, and is marked with many
+original effects. His "Reiterlied" is superbly joyful. A setting of
+Lewis Carroll's immortal "Jabberwocky" shows much rich humor of the
+college glee-club sort. There is an irresistibly humorous episode
+where the instrument of destruction goes "snicker snack," and a fine
+hilarity at
+
+    "'O frabjous day
+    Callooh, callay,'
+    He chortled in his joy."
+
+What would part-song writers do if the Vikings had never been
+invented? Where would they get their wild choruses for men, with a
+prize to the singer that makes the most noise? Chadwick falls into
+line with "The Viking's Last Voyage" (1881), for barytone solo, male
+chorus, and orchestra, which gives him a very high place among writers
+in this form. He has also a robustious "Song of the Viking," and an
+excellent Dedication Ode (1884), for solo, chorus, and orchestra, to
+the pregnant words of Rev. H.B. Carpenter, besides two cantatas for
+mixed voices, "Phoenix Expirans" and "The Pilgrims." In 1889 was
+published his "Lovely Rosabelle," a ballad for chorus and orchestra;
+it contains some interesting dissonantial work in the storm-passages.
+And his comic opera, "Tabasco," must be mentioned, as well as an
+enormous mass of sacred music, which, I confess, I had not the
+patience to study. The flesh was willing, but the spirit was weak.
+
+Among Chadwick's songs is a volume of Breton melodies harmonized with
+extreme simplicity. Others are "Gay Little Dandelion," which is good
+enough of its everlasting flower-song sort; "In Bygone Days" and
+"Request," which, aside from one or two flecks of art, are trashy; and
+two childish namby-pambies, "Adelaide" and "The Mill." "A Bonny Curl"
+catches the Scotch-ton faithfully.
+
+Chadwick usually succeeds, however, in catching foreign flavors. His
+"Song from the Persian" is one of his best works, and possibly the
+very best is his "Sorais' Song," to Rider Haggard's splendid words.
+It has an epic power and a wild despair. Up to the flippancy of its
+last measures, it is quite inspired, and one of the strongest of
+American songs. The "Danza" is captivating and full of novelty. "Green
+Grows the Willow" is a burden of charming pathos and quaintness,
+though principally a study in theme-management. "Allah," however, is
+rather Ethiopian than Mahommedan. His "Bedouin Love Song" has little
+Oriental color, but is full of rush and fire, with a superb ending. It
+is the best of the countless settings of this song. I wish I could say
+the same of his "Thou Art so Like a Flower," but he has missed the
+intense repression of Heine.
+
+[Music: _To Mrs. G.H. Stoddard._
+
+TWO FOLK SONGS.
+
+I
+
+G.W. Chadwick
+
+    O love and joy are for a day,
+    Then tears and sorrow after,
+    O love is for a summer's day,
+    And then farewell to laughter.
+    If love and joy are for a day
+    And then farewell to laughter,
+    To live with love give me one day
+    Though tears forever after.
+
+Copyright, 1892, by Arthur P. Schmidt.]
+
+The "Serenade" displays an interesting rhythm; "The Miller's Daughter"
+is tender, and "A Warning" is delightfully witty. One regrets,
+however, that its best points were previously used in Schumann's
+perfect folk-song, "Wenn ich frueh in den Garten geh'." Chadwick has
+two folk-songs of his own, however, which are superb. "He Loves Me" is
+a tender, cradle-song-like bit of delicious color. The "Lullaby" is a
+genuinely interesting study in this overworked form. "The Lily" has
+the passionate lyricism of Chaminade, and "Sweet Wind that Blows" is a
+fine frenzy. The "Nocturne" is dainty and has its one good climax.
+"Before the Dawn" has some of Chadwick's best work; it is especially
+marked by a daring harmonic--you might say--_impasto_.
+
+His principal works, besides those mentioned, may be catalogued (I am
+unable to do more than catalogue most of them, having seen only one of
+them, "The Lily Nymph," performed, and having read the score of only
+the "Melpomene" overture): Concert overtures, "Rip Van Winkle"
+(written in Leipzig, 1879, and played there the same year), "Thalia"
+(1883), "Melpomene" (1887), "The Miller's Daughter" (1887), and
+"Adonais" (in memory of a friend, 1899); Symphonies, in C (1882), in B
+(1885); an Andante for string orchestra (1884), and numerous pieces of
+chamber-music. In the case of the cantata, "The Lily Nymph,"
+Chadwick's art was quite futilized by the superb inanities of the book
+he used. The "Melpomene" is a work of infinitely more specific
+gravity. It is one of the most important of American orchestral works.
+
+As his "Thalia" was an "overture to an imaginary comedy," so this, to
+an imaginary tragedy. It has been played by the Boston Symphony and
+many other orchestras. It has that definiteness of mood with that
+indefiniteness of circumstance in which music wins its most dignified
+prosperity.
+
+    It opens with the solitary voice of the English horn, which
+    gives a notable pathos (read Berlioz on this despairful
+    elegist, and remember its haunting wail in the last act of
+    "Tristan und Isolde"). The woeful plaint of this voice
+    breathing above a low sinister roll of the tympanum
+    establishes at once the atmosphere of melancholy. Other
+    instruments join the wail, which breaks out wildly from the
+    whole orchestra. Over a waving accompaniment of clarinets,
+    the other wood-winds strike up a more lyric and hopeful
+    strain, and a soliloquy from the 'cello ends the slow
+    introduction, the materials of which are taken from the two
+    principal subjects of the overture, which is built on the
+    classic sonata formula. The first subject is announced by the
+    first violins against the full orchestra; the subsidiary
+    theme is given to the flutes and oboes; after a powerful
+    climax, and a beautiful subsidence of the storm in the lower
+    strings, the second subject appears in the relative major
+    with honeyed lyricism. The conclusion, which is made rather
+    elaborate by the latter-day symphonists, is reduced to a
+    brief modulation by Mr. Chadwick, and almost before one knows
+    it, he is in the midst of the elaboration. It is hard to say
+    whether the composer's emotion or his counterpoint is given
+    freer rein here, for the work is remarkable both for the
+    display of every technical resource and for the irresistible
+    tempest of its passion. In the reprise there is a climax that
+    thrills one even as he tamely reads the score, and must be
+    overpowering in actual performance: the cheerful consolation
+    of the second subject provokes a cyclonic outburst of grief;
+    there is a furious climax of thrilling flutes and violins
+    over a mad blare of brass, the while the cymbals shiver
+    beneath the blows of the kettledrum-sticks. An abrupt silence
+    prepares for a fierce thunderous clamor from the tympani and
+    the great drum (beaten with the sticks of the side-drum).
+    This subsides to a single thud of a kettledrum; there is
+    another eloquent silence; the English horn returns to its
+    first plaint; but grief has died of very exercise, and the
+    work ends in a coda that establishes a major harmony and
+    leaves the hearer with a heart purged white and clean.
+
+The "Melpomene" overture is a work of such inspiration and such
+scholarship that it must surely find a long youth in the chronicle of
+our music.
+
+
+_Arthur Foote._
+
+[Illustration: ARTHUR FOOTE.]
+
+[Illustration: Autograph of Arthur Foote]
+
+The nearest approach Americans make to the enthusiastic German
+_Maennerchor_ is in the college glee clubs. The dignity of their
+selections is not always up to that of the Teutonic chorus, but they
+develop a salutary fondness for color and shading, exaggerating both a
+little perhaps, yet aiming at the right warmth and variety withal.
+Even those elaborate paraphrases and circumlocutions of Mother Goose
+rhymes, to which they are so prone, show a striving after dramatic
+effect and richness of harmony, as well as a keen sense of wit and
+humor that are by no means incompatible with real value in music.
+
+Among their other good deeds must be counted the fostering of the
+musical ambitions of Arthur Foote, who was for two years the leader of
+the Glee Club of Harvard University. Though he has by no means been
+content to delve no deeper into music than glee-club depths, I think
+the training has been of value, and its peculiar character is patent
+in his works. He is especially fond of writing for men's voices, and
+is remarkably at home in their management, and he strives rather for
+color-masses than for separate individualities in the voices.
+
+Among his larger works for men's voices is an elaborate setting of
+Longfellow's poem, "The Skeleton in Armor," which is full of vigor and
+generally sturdy in treatment, especially in its descriptions of
+Viking war and seafaring. The storm-scenes, as in Mr. Foote's "Wreck
+of the Hesperus," seem faintly to suggest Wagnerian _Donner und
+Blitzen_, but in general Mr. Foote has resisted the universal tendency
+to copy the mannerisms so many take to be the real essence of the
+Bayreuthian. A pretty bit of fancy is the use of a spinning-wheel
+accompaniment to the love-song, although the spindle is nowhere
+suggested by the poem. Indeed, the spinning is treated as a
+characteristic motif for the Norseman's bride, somewhat as it is
+Senta's motif in "The Flying Dutchman."
+
+The chief fault with the "Skeleton" chorus is that it is always
+choric. There are no solos, and the different registers are never used
+separately for more than a bar or two, before the whole mass chimes
+in. Even the instrumental interludes are short, and the general effect
+must be rather undiversified, one of sympathy, too, for the unrested
+chorus.
+
+"The Wreck of the Hesperus" is an ambitious work, built on large
+lines, but hardly represents Mr. Foote at his best. It is for mixed
+voices, and is pitched in a most lugubrious key, being always either
+vociferous with panic or dismal with minor woe. A worse trouble yet is
+the attempt to make a short poem fit a long composition. The
+Procrustean operation strains even Longfellow sadly.
+
+This blemish is lacking in "The Farewell of Hiawatha," which is
+written for men's voices. Though it, too, is of a sad tone, its sombre
+hues are rich and varied as a tapestry. Its effects, though potent,
+seem more sincere and less labored. It is altogether noble.
+
+A larger body of sacred music for mixed voices than many other
+Americans can boast, also swells Foote's opus-score. Here he shows the
+same facility with the quartette as in his other works. In fact, I
+think the effect of glee-club training on his young mind has strongly
+influenced his whole life-work. And, by the way, the most talented of
+all the great Sebastian Bach's twenty-one children--every one a
+musical opus, too--was diverted from the philosopher's career for
+which he was intended, and into professional musicianship, by just
+such a glee-club training in the universities at Leipzig and
+Frankfort.
+
+Almost all of Foote's compositions are written in the close harmony
+and limited range of vocal music, and he very rarely sweeps the
+keyboard in his piano compositions, or hunts out startling novelties
+in strictly pianistic effect. He is not fond of the cloudy regions of
+the upper notes, and though he may dart brilliantly skyward now and
+then just to show that his wings are good for lighter air, he is soon
+back again, drifting along the middle ether.
+
+He has won his high place by faithful adherence to his own sober,
+serene ideals, and by his genuine culture and seriousness. He is
+thoroughly American by birth and training, though his direct English
+descent accounts for his decided leaning toward the better impulses of
+the English school of music. He was born at Salem, Mass., March 5,
+1853, and though he played the piano a good deal as a boy, and made a
+beginning in the study of composition with Emery, he did not study
+seriously until he graduated from Harvard in 1874. He then took up the
+higher branches of composition under the tuition of John Knowles
+Paine, and obtained in 1875 the degree of A.M. in the special
+department of music. He also studied the organ and the piano with B.J.
+Lang at Boston, and has since made that city his home, teaching and
+playing the organ.
+
+His overture, "In the Mountains," has been much played from the
+manuscript by orchestras, among them the Boston Symphony. Besides a
+considerable amount of highly valuable contributions to American
+chamber-music, and two fine piano suites, he has written a great many
+piano pieces and songs which deserve even greater popularity than they
+have won, because, while not bristling with technical difficulties,
+they are yet of permanent worth.
+
+I know of no modern composer who has come nearer to relighting the
+fires that beam in the old gavottes and fugues and preludes. His two
+gavottes are to me among the best since Bach. They are an example of
+what it is to be academic without being only a-rattle with dry bones.
+He has written a Nocturne that gets farther from being a mere
+imitation of Chopin than almost any night-piece written since the Pole
+appropriated that form bodily from John Field and made it his own.
+
+One of his most original pieces is the Capriccio of his D minor Suite,
+which is also unusually brilliant in color at times; and he has an
+Allegretto that is a scherzo of the good old whole-souled humor.
+Foote, in fact, is never sickly in sentiment.
+
+Of his rather numerous songs, the older English poets, like Marlowe,
+Sidney, Shakespeare, Suckling, and Herrick, have given him much
+inspiration. The song "It Was a Lover and his Lass" is especially
+taking. His three songs, "When You Become a Nun, Dear," "The Road to
+Kew," and "Ho, Pretty Page!" written by modern poets in a half-archaic
+way, display a most delicious fund of subtile and ironic musical
+humor. "The Hawthorn Wins the Damask Rose" shows how really fine a
+well conducted English ballad can be. Among his sadder songs, the
+"Irish Folksong," "I'm Wearing Awa'," and the weird "In a Bower" are
+heavy with deepest pathos, while "Sweet Is True Love" is as wildly
+intense and as haunting in its woe as the fate of the poor Elaine,
+whose despair it sings. This I count one of the most appealing of
+modern songs.
+
+[Music: IT WAS A LOVER AND HIS LASS
+
+ARTHUR FOOTE, Op. 10, No. 1.
+
+    1. It was a lover and his lass,
+    With a hey and a ho,
+    With a hey and a ho, and a hey, and a hey non-i-no!
+    That o'er the green cornfield did pass,
+    In the springtime, the springtime,
+    The only pretty ring-time,
+    When birds do sing hey ding a ding!
+    Sweet lovers love the spring.
+
+    2. And therefore take the present time,
+    With a hey and a ho,
+    With a hey and a ho, and a hey, and a hey non-i-no!
+    For love is crowned with the prime,
+    In the springtime, the springtime,
+    The only pretty ring-time,
+    When birds do sing hey ding a ding!
+    Sweet lovers love the Spring. (_Shakespeare._)
+
+Copyright, 1886, by Arthur P. Schmidt & Co.]
+
+His greatest work is undoubtedly his symphonic prologue to Dante's
+story of "Francesca da Rimini," for full orchestra. Without being
+informed upon the subject, I fancy a certain programmism in the
+prologue that is not indicated in the quotation at the beginning of
+the work:
+
+             "Nessun maggior dolore,
+     Che ricordarsi del tempo felice
+     Nella miseria."
+
+The prologue, however, seems to me to contain more than the
+psychological content of these lines from the fifth canto of the
+"Inferno."
+
+    The slow introduction in C minor begins with a long, deep
+    sigh, followed by a downward passage in the violas and
+    'cellos that seems to indicate the steps that bring Dante and
+    Vergil down to the edge of the precipice past which the
+    cyclone of the damned rolls eternally. There is some
+    shrieking and shuddering, and ominous thudding of the
+    tympani (which are tuned to unusual notes), then follows a
+    short recitative which might represent Dante's query to
+    Francesca how she came to yield to love. Suddenly out of the
+    swirling strings the first subject is caught up; it is a
+    frenzy passionately sung by the first violins, reenforced by
+    the flutes at the crises. The second subject appears after a
+    sudden prelude by the brass; it is a very lyric waltz-tune in
+    the relative major, and doubtless depicts the joy recalled in
+    sorrow. The conclusion is quite lengthy; it is also in waltz
+    form, and is first announced by a single flute over the
+    violins and violas, the first violins keeping to the gloomy
+    G string. This air is now given to a solo horn, and a fierce
+    and irresistible dance fervor is worked up. The elaboration
+    begins with the first subject in F sharp minor, caught up
+    fiercely from a downward rush. The reprise is not long
+    delayed, and the second subject appears, contrary to custom,
+    in the tonic major instead of the tonic minor. The coda is
+    deliciously tender and beautiful, possibly because, being a
+    prologue, the work must prepare for a drama that begins
+    cheerfully; possibly because after all there is comfort in
+    bliss remembered in sorrow.
+
+Tschaikowski has written a symphonic poem on the same subject, which
+has been also the inspiration of numberless dramas, and is one of the
+most pathetic pages in all literature; even the stern old Dante says
+that when he heard Francesca tell her story he almost died of pity,
+and fell to the ground as one dead.
+
+A Serenade for string orchestra (op. 25) contains a Prelude, a tender
+Air, a luscious Intermezzo in the rich key of B major with soli for
+violin and 'cello, a Romance with a good climax, and a gallant Gavotte
+with special attention to the too much slighted violas.
+
+Opus 36 is a suite for full orchestra. It has been played by the
+Boston Symphony, and consists of a brilliant Allegro; an Adagio of
+deep sincerity and beautifully varied color, a period wherein the
+brass choir, heavily scored, chants alone, and the division of the
+theme among the wood-wind over the rushing strings is especially
+effective; a very whimsical Andante with frequent changes of tempo,
+and soli for the English horn in antiphony with the first oboe; and a
+madcap Presto that whisks itself out in the first violins.
+
+Two other published works are a string quartette (op. 4) and a
+quintette for piano and strings (op. 36). This begins in A minor with
+a well woven and well derived set of themes, and ends in a scherzo in
+A major with spinning-song characteristics. Between these two
+movements comes an intermezzo of strongly marked Scotch tone. This has
+been performed by the Kneisel Quartette.
+
+
+_S.G. Pratt._
+
+Almost every musician has heard of Christopher Columbus, and holds
+him in a certain esteem as a man without whose push the invention of
+America would have been long deferred; but few American musicians have
+felt under a sufficient debt of gratitude to make his troubles and
+triumphs the foundation of an appropriate musical work. Silas G. Pratt
+was bold enough to undertake the monumental task; and he expended upon
+it large resources of scholarship, research, and enthusiasm. The work
+was performed at New York during the Quadricentennial of the discovery
+of America.
+
+If Pratt had been born in old Egypt, he would have found his chief
+diversion in the building of pyramids, so undismayed is he by the size
+of a task. His patriotism is a sharp spur to him, and has enabled him
+to write an orchestral composition devoted to Paul Revere's Ride; a
+fantasy descriptive of a battle between the Northern and Southern
+armies; "The Battle of Manila;" "The Anniversary Overture," in
+commemoration of the centennial of American Independence, performed in
+Berlin twice, and in London at the Crystal Palace, during Grant's
+visit there; and a march called by the curious name of "Homage to
+Chicago." Besides these works Pratt has written the "Magdalen's
+Lament," his first orchestral composition, suggested by Murillo's
+picture; the lyric opera, "Antonio;" a first symphony, of which the
+adagio was performed in Berlin, the other movements being produced in
+Boston and Chicago; a second symphony, "The Prodigal Son;" a romantic
+opera, "Zenobia," produced in Chicago; a lyric opera, "Lucille," which
+ran for three weeks in Chicago; a symphonic suite based on the
+"Tempest;" a canon for a string quartette; a serenade for string
+orchestra; a grotesque suite, "The Brownies," produced in New York
+and at Brighton Beach by Anton Seidl. Besides these works of musical
+composition, Pratt has delivered various musical lectures, ingeniously
+contrived to entertain the great public and at the same time inform
+it. He has been active also in the organization of various musical
+enterprises, among them the Apollo Club of Chicago.
+
+Pratt was born in Addison, Vermont, August 4, 1846. At the age of
+twelve, he was thrown on his own resources, and connected himself with
+music publishing houses in Chicago. After various public performances,
+he went to Germany in 1868, to study the piano under Bendel and
+Kullak, and counterpoint under Kiel. In 1872 he returned to Chicago
+and gave a concert of his own works. But the phoenix city had not
+entirely preened its wings after the great fire of 1871, and Pratt
+found no support for his ambitions. After teaching and giving
+concerts, he returned to Germany in 1875, where he attended the
+rehearsals of Wagner's Trilogy at Bayreuth, met Liszt here, and gave a
+recital of his own compositions at Weimar. His "Anniversary Overture"
+was cordially received by the press of both Berlin and London. A third
+visit to Europe was made in 1885 for the production of the "Prodigal
+Son" at the Crystal Palace, on the occasion of which, Berthold Tours
+wrote that both the symphony and the "Anniversary Overture" were
+"grandly conceived works, full of striking originality, modern
+harmony, flowing melody, and beautiful, as well as imposing effects."
+
+Activity along such lines has left Pratt little time for the smaller
+forms of composition; a few have been published, among them the song,
+"Dream Vision," in which Schumann's "Traeumerei" is used for violin
+obbligato; and a few piano pieces, such as "Six Soliloquies," with
+poetic text. In these each chord shows careful effort at color, and
+the work is chromatic enough to convince one that he has studied his
+Bach thoroughly.
+
+Among his massive compositions there are two that seem likely to win,
+as they surely deserve, a long life. These are the symphonic suite,
+"The Tempest," and the "Prodigal Son." To the latter splendid
+achievement, A.J. Goodrich devotes several pages of his "Musical
+Analysis," to which I can do no better than to refer the reader. The
+"Tempest" is based, of course, on Shakespeare's play, and is described
+as follows by the composer:
+
+    "It is intended, in the first movement, Adagio, to typify the
+    sorrow of Prospero, and his soul's protest against the
+    ingratitude and persecution of his enemies. His willing
+    attendant Ariel is briefly indicated in the closing measures.
+    The Pastoral furnishes an atmosphere or stage setting for the
+    lovers, Miranda and Ferdinand, whose responsive love-song
+    follows the droning of a shepherd's pipe in the distance.
+    Prospero's interruption to their passionate assurances of
+    devotion, and the imposition of the unpleasant task, are
+    briefly touched upon, and the movement closes with a repeat
+    of the pastoral, and alternate reiteration of the lover's
+    song. The Finale, after a short introduction, in most sombre
+    vein, indicates the flitting about of Ariel and his companion
+    sprites as they gather for revelry. The presence of the
+    master is soon made apparent by the recurrence, in a
+    subdued manner, of Prospero's first theme from the Adagio,
+    the fantastic tripping of the elves continuing, as though the
+    controlling spirit were conjuring up the fete for the
+    amusement of the lovers and himself.
+
+        "'Ye elves of hills, brooks, standing lakes and groves;
+        And ye that on the sand, with printless foot
+        Do chase the ebbing Neptune, and do fly him
+        When he comes back.'
+
+    "The dance then begins, and continues in a fantastic, at
+    times grotesque and furious manner, the theme of the lovers
+    being interwoven at times, in an unobtrusive way. At length,
+    Caliban is heard approaching, singing his drunken song.
+
+        "''Ban, 'Ban, Ca-caliban
+        Has a new master: get a new man.'
+
+    "Ariel and his companions flit about, ridiculing, mocking,
+    and laughing at him; eventually prodding and pinching him
+    until, shivering, with aching joints, he staggers away. The
+    revelry then continues, the song of the lovers becoming more
+    and more prominent until, somewhat broadened out, it asserts
+    itself triumphantly above all, Ariel and his companions
+    flitting about, Prospero happy, and Caliban subjugated, all
+    the chief themes being united to form the climax and close of
+    the work."
+
+Although Pratt intentionally omitted the English horn and the bass
+clarinet, the scoring is remarkable for its color and faery. The work
+is highly lyrical in effect, and the woodsiness is beautifully
+established. The solemnity of Prospero, the adroitness of the lovers
+and the contrasting natures of the volatile Ariel and the sprawling
+Caliban, make up a cast of characters in the development of which
+music is peculiarly competent. The stertorous monologue of Caliban and
+his hobbling dance, and the taunting and pinching torment he is
+submitted to, make excellent humor.
+
+
+_Henry K. Hadley._
+
+[Illustration: HENRY K. HADLEY.]
+
+The word symphony has a terrifying sound, particularly when it is
+applied to a modern work; for latter-day music is essentially romantic
+in nature, and it is only a very rare composer that has the
+inclination or the ability to force the classic form to meet his new
+ideas. The result is that such a work usually lacks spontaneity,
+conviction. The modern writer does much better with the symphonic
+poem.
+
+The number of American symphonies worth listening to, could be counted
+on the fingers with several digits to spare. A new finger has been
+preempted by Henry K. Hadley's symphony called "Youth and Life." The
+title is doubly happy. Psychologically it is a study of the intense
+emotional life of youth, written by an American youth,--a young man
+who, by the way, strangely reminds one, in his appearance, of
+Macmonnies' American type, as represented by his ideal statue of
+Nathan Hale.
+
+And musically the work is imbued with both youth and life. It has
+blood and heart in it. The first movement is a conflict between good
+and evil motives struggling like the mediaeval angels for the soul of
+the hero. The better power wins triumphantly. The second movement,
+however, shows doubt and despair, remorse and deep spiritual
+depression. The climax of this feeling is a death-knell, which,
+smitten softly, gives an indescribably dismal effect, and thrills
+without starting. Angelus bells in pedal-point continue through a
+period of hope and prayer; but remorse again takes sway. The ability
+to obtain this fine solemnity, and follow it with a scherzo of
+extraordinary gaiety, proves that a genius is at large among us. The
+Scherzo displays a thigh-slapping, song-singing _abandon_ that
+typifies youthful frivolity fascinatingly. A fugue is used
+incidentally with a burlesque effect that reminds one of Berlioz'
+"Amen" parody in the "Damnation of Faust." The Finale exploits motives
+of ambition and heroism, with a moment of love. The climax is
+vigorous. Without being at all ariose, the symphony is full of melody.
+Its melodies are not counterpoint, but expression; and each instrument
+or choir of instruments is an individuality.
+
+Hadley is galvanic with energy and optimism, dextrous to a remarkable
+degree in the mechanism of composition. His scoring is mature,
+fervent, and certain. His symphony is legitimately programmatic and
+alive with brains, biceps, and blood,--all three,--the three great B's
+of composition.
+
+Hadley was born at Somerville, Mass., in 1871. His father was a
+teacher of music and gave him immediate advantages. He studied harmony
+with Stephen A. Emery, counterpoint with G.W. Chadwick, and the
+violin with Henry Heindl and Charles N. Allen of Boston. Before
+attaining his majority, he had completed a dramatic overture, a string
+quartette, a trio, and many songs and choruses. In 1894 he went to
+Vienna and studied composition with Mandyczewski. Here he composed his
+third suite for the orchestra. In 1896 he returned to America and took
+charge of the music department of St. Paul's school at Garden City,
+L.I. He has had some experience as a conductor and has been very
+prolific in composition. His first symphony was produced under the
+direction of Anton Seidl, in December, 1897; and at a concert of his
+own compositions, again, in January, 1900, Hadley conducted this
+symphony, and also two movements from his second symphony, "The
+Seasons." These two movements show a mellower technic, perhaps, but
+are less vital. He has written three ballet suites with pronounced
+success, the work being musical and yet full of the ecstasy of the
+dance. His third ballet suite, which is the best, was produced at a
+concert of the American Symphony Orchestra, under Sam Franko.
+
+The existence of a festival march, a concert overture, "Hector and
+Andromache," two comic operas, and six songs for chorus and orchestra,
+besides a number of part songs and piano pieces, and over one hundred
+songs, forty of which are published, gives proof of the restless
+energy of the man. The high average of scholarship is a proof of his
+right to serious acceptance.
+
+A cantata for orchestra, "Lelewala," a legend of Niagara, is published
+for piano accompaniment. Now, Niagara is a dangerous subject for the
+frail skiffs of rhyme, prose, or music to launch out upon. Barrel
+staves may carry one through the whirlpool, but music staves cannot
+stand the stress. Of all the comments upon the Falls of Niagara that I
+have ever read, or heard of, there has been only one that seemed
+anything but ridiculously inappropriate; that one was the tribute of a
+young boy who, on standing face to face with the falls, simply
+exclaimed, in an awe-smothered whisper, "Well, by gosh!" But it must
+be admitted that these words would baffle the music-making
+propensities even of the composer of Haendel's "Hallelujah Chorus."
+That learned composer, George F. Bristow, now dead, made the mistake
+of attempting to compass Niagara in a work for chorus and orchestra.
+Hadley is not exactly guilty of the same fatal attempt in his
+"Lelewala," for the poem is chiefly a story of love and sacrifice; but
+Niagara comes in as a programmatic incident, and the author of the
+text has fallen lamentably short of his subject in certain instances.
+In other moments, he has written with genuine charm, and the music has
+much that is worth while.
+
+Among his published songs are to be noted the unusually good setting
+of Heine's "Wenn ich in deine Augen seh'" and of his less often heard
+"Sapphire sind die Augen dein," and "Der Schmetterling ist in die Rose
+verliebt." A deservedly popular work is "I Plucked a Quill from
+Cupid's Wing." Among so many morose or school-bound composers, Hadley
+is especially important for the fact that he is thrilled with a sane
+and jubilant music.
+
+
+_Adolph M. Foerster._
+
+[Illustration: ADOLPH M. FOERSTER.]
+
+It has been fortunate for American song that it forsook the narrow,
+roystering school of English ballad and took for its national model
+the _Lied_ of the later German school. It is true that the earlier
+English had its poetry-respecting music in the work of such a man as
+Henry Lawes, or Purcell, just as it had its composers who far preceded
+Bach in the key-roving idea of the "Well-tempered Clavier;" but that
+spirit died out of England, and found its latest avatar in such men
+as Robert Franz, who confessed that he had his first and fullest
+recognition from this country.
+
+A correspondence with Franz was carried on for eighteen years by one
+of the solidest of American composers, Adolph M. Foerster, who gives
+distinction to the musical life of Pittsburg. He knew Franz
+personally, and has written an important appreciation of him for the
+magazine _Music_. Foerster was born at Pittsburg in 1854. After three
+years of commercial life, he took up music seriously, and spent the
+years from 1872 to 1875 at Leipzig,--studying the piano under Coccius
+and Wenzel, singing under Grill and Schimon, and theory under E.F.
+Richter and Papperitz. Returning to America, he connected himself with
+the Fort Wayne (Ind.) Conservatory of Music, then under the direction
+of the beneficent inventor of the Virgil Clavier. A year later he
+returned to Pittsburg, where he has since remained. For awhile he was
+conductor of a symphonic society and a choral union, which are no
+longer extant. Since, he has devoted himself to teaching and
+composition.
+
+Of Foerster's piano compositions opus 11 is a "Valse Brillante," warm
+and melodious. Opus 13 is a "Sonnet," based, after the plan of Liszt,
+upon a lyric of Petrarch's, a beautiful translation from his "Gli
+occhi di ch'io parlai si caldamente." It is full of passion, and shows
+a fine variety in the handling of persistent repetition. Opus 18
+couples two sonatinas. The second has the more merit, but both, like
+most sonatinas, are too trivial of psychology and too formal even to
+be recommended for children's exercises. "Eros" is a fluent melody,
+with a scherzesque second part.
+
+Opus 37 contains two concert etudes, both superb works. The first,
+"Exaltation," is very original, though neither the beginning nor the
+ending is particularly striking. The music between, however, has a
+fervor that justifies the title. This etude is, like those of Chopin,
+at the same time a technical study and a mood. The second, a
+"Lamentation," begins with a most sonorous downward harmony, with
+rushes up from the bass like the lessening onsets of a retreating
+tide. Throughout, the harmonies and emotions are remarkably profound
+and the climaxes wild. I should call it one of the best modern piano
+compositions.
+
+Twelve "Fantasy Pieces" are included in opus 38. They are short
+tone-poems. The second, "Sylvan Spirits," is fascinating, and "Pretty
+Marie" has an irresistibly gay melody. He has dedicated the six songs
+of opus 6 to Robert Franz. These are written in a close unarpeggiated
+style chiefly, but they are very interesting in their pregnant
+simplicity. In two cases they are even impressive: the well-known
+lyric, "Im Rhein, im heiligen Strome," and "Meeresstille." Opus 12 is
+a notable group of three songs: "Mists" is superbly harmonious. Opus
+25 includes "Ask Thou Not the Heather Gray," a rhapsody of the utmost
+ingenuity in melody and accompaniment. It has a catching blissfulness
+and a verve that make it one of the best American songs. Opus 28 is a
+book called "Among Flowers." The music is in every case good, and
+especially satisfactory in its emancipation from the Teutonism of
+Foerster's earlier songs. The song "Among the Roses" has a beautiful
+poem, which deserves the superb music. It ends hauntingly with an
+unresolved major ninth chord on the dominant of the dominant. So the
+frenzy of "In Blossom Time" is emotion of a human, rather than a
+botanical sort. "The Cradle Song" adapts the Siegfried Idyl, and the
+"Old Proverb" is rollicking. The two songs of opus 34 are fitted with
+words by Byron. The three songs of opus 44 also make use of this poet,
+now so little in vogue with composers. There are three songs in opus
+42: a pathetic "Little Wild Rose," and "By the Seaside," which is full
+of solemnity. "The Shepherd's Lament" is one of his best lyrics, with
+a strange accompaniment containing an inverted pedal-point in octaves.
+There are also several part songs.
+
+In larger forms, Mr. Foerster is even more successful. Opus 10 is a
+Character-piece for full orchestra, based on Karl Schaefer's poem,
+"Thusnelda." It is short but vigorous, and well unified. Opus 15 is a
+Fantasie for violin and piano, the piano having really the better of
+it. The treatment is very original, and the strong idea well
+preserved. Opus 21 is a Quartette for violin, viola, 'cello, and
+piano. The first movement begins solemnly, but breaks into an
+appassionato. All four instruments have an equal voice in the parley,
+and all the outbursts are emotional rather than contrapuntal. A climax
+of tremendous power is attained. The second movement omits the piano
+for a beautiful adagio. The third is an hilarious allegro, and the
+finale is an even gayer presto, with movements of sudden sobriety,
+suddenly swept away. Foerster calls this Quartette "far inferior" to a
+second one, opus 40. This, however, I have not seen; but I do not
+hesitate to call opus 21 a masterly work.
+
+Opus 24 is an "Albumblatt" for 'cello and piano. It is a wonderwork
+of feeling and deep richness of harmony, of absolute sincerity and
+inspiration. Opus 29 is a Trio for violin, 'cello, and piano. The
+three begin in unison, andante, whence the 'cello breaks away,
+followed soon by the others, into the joviality of a drinking bout.
+There is a military moment, a lyric of more seriousness, and a finish
+agitato. The second movement is a larghetto highly embroidered. The
+third movement is a vivace with the spirit of a Beethoven presto.
+
+Opus 36 is a suite for violin and piano, beginning with a most
+engaging and most skilful Novelette.
+
+In MS. are: an elaborate ballad, "Hero and Leander," which, in spite
+of an unworthy postlude and certain "Tristan und Isolde" memories, is
+ardent and vivid with passion; "Verzweifelung," which is bitter and
+wild with despair; a suite for piano (op. 46) containing a waltz as
+ingenious as it is captivating; and a finale called "Homage to
+Brahms." This is a remarkably clever piece of writing, which, while it
+lacks the Brahmsian trade-mark of thirds in the bass, has much of that
+composer's best manner, less in his tricks of speech than in his
+tireless development and his substitution of monumental thematicism
+for lyric emotion. In MS. is also a prelude to Goethe's "Faust" for
+full orchestra. It has very definite leading motives, which include
+"Faust's Meditations," "Visions of Margarethe," "Evil" and "Love"
+(almost inversions of each other), "Mephistopheles," and the like. The
+strife of these elements is managed with great cleverness, ending
+beatifically with the motive of Gretchen dying away in the wood-wind.
+
+An orchestral score that has been published is the Dedication March
+for Carnegie Hall in Pittsburg. It begins with a long fanfare of horns
+heard behind the scenes. Suddenly enters a jubilant theme beginning
+with Andrew Carnegie's initials, a worthy tribute to one to whom
+American music owes much.
+
+
+_Charles Crozat Converse._
+
+[Illustration: CHARLES CROZAT CONVERSE.]
+
+Musicians are not, as a class, prone to a various erudition (a
+compliment fully returned by the learned in other directions, who are
+almost always profoundly ignorant of the actual art of music). One of
+the rule-proving exceptions is Charles Crozat Converse, who has delved
+into many philosophies. An example of his versatility of interest is
+his coining of the word "thon" (a useful substitute for the ubiquitous
+awkwardness of "he or she" and "his or her"), which has been adopted
+by the Standard Dictionary.
+
+Converse' ancestry is American as far back as 1630. Converse was born
+at Warren, Mass., October 7, 1832. After being well grounded in
+English and the classics, he went, in 1855, to Germany. Here he
+studied law and philosophy, and music at the Conservatorium in
+Leipzig. He enjoyed the instruction of Richter, Hauptmann, Plaidy, and
+Haupt, and made the acquaintance of Liszt and Spohr. Spohr was
+especially interested in, and influential in, his work, and confident
+of its success.
+
+Returning to America, he graduated from the Law Department of Albany
+University in 1860, with the degree of LL.B. The B has since been
+dignified into a D, as a tribute to his unusual accomplishments.
+Converse declined the honor of a Doctorship of Music from the
+University of Cambridge, offered him by its professor, the well-known
+English composer, Sterndale Bennett, in recognition of his mastery of
+lore as evinced in a five-voiced double fugue that ends his
+Psalm-Cantata on the 126th Psalm.
+
+This scholarly work was performed under the direction of Theodore
+Thomas in 1888, at Chicago.
+
+A widely known contribution to religious music is Converse' hymn,
+"What a Friend We Have in Jesus," which has been printed, so they say,
+in all the tongues of Christendom, and sold to the extent of fifty
+millions of copies. This tune occupied a warm place in my
+Sunday-schoolboy heart, along with other singable airs of the Moody
+and Sankey type, but as I hum it over in memory now, it tastes
+sweetish and thin. Its popularity is appalling, musically at least.
+Converse has written many other hymn-tunes, which have taken their
+place among ecclesiastical soporifics. Besides, he has recently
+compiled a collection of the world's best hymns into the "Standard
+Hymnal." In this field Converse, though conventional,--and
+conventionality may be considered inevitable here,--is mellow of
+harmony and sincere in sentiment.
+
+Numberless attempts are made to supply our uncomfortable lack of a
+distinctly national air, but few of them have that first requisite, a
+fiery catchiness, and most of them have been so bombastic as to pall
+even upon palates that can endure Fourth of July glorification.
+Recognizing that the trouble with "America" was not at all due to the
+noble words written by the man whom "fate tried to conceal by naming
+him Smith," Converse has written a new air to this poem.
+Unfortunately, however, his method of varying the much-borrowed
+original tune is too transparent. He has not discarded the idea at
+all, or changed the rhythm or the spirit. He has only taken his tune
+upward where "God Save the Queen" moves down, and bent his melody down
+where the British soars up. This, I fancy, is the chief reason why his
+national hymn has gone over to the great majority, and has been
+conspicuously absent from such public occasions as torchlight parades
+and ratifications.
+
+Except the work issued under the alias "Karl Redan," or the anagrams,
+"C.O. Nevers" and "C.E. Revons," his only secular musics that have
+been put into print are his American Overture, published in Paris, and
+a book of six songs, published in Germany.
+
+Music is called the universal language, but it has strongly marked
+dialects, and sometimes a national flavor untranslatable to foreign
+peoples. So with these six songs, not the words alone are German. They
+are based on a Teutonic, and they modulate only from Berlin to
+Braunschweig and around to Leipzig. While the songs repay study, they
+are rather marked by a pianistic meditation than a strictly lyric
+emotion. "Aufmunterung zur Freude" is a tame allegretto; "Wehmuth" is
+better; "Taeuschung" is a short elegy of passion and depth; "Ruhe in
+der Geliebten" is best in its middle strain where it is full of rich
+feeling and harmony. The ending is cheap. "Der gefangene Saenger" is
+only a slight variant at first on the "Adieu" credited to Schubert; it
+is thereafter excellent.
+
+Converse has a large body of music in manuscript, none of which I had
+the pleasure of examining save a tender sacred lullaby. There are two
+symphonies, ten suites, and concert overture, three symphonic poems,
+an oratorio, "The Captivity," six string quartettes, and a mass of
+psalmodic and other vocal writing.
+
+Of these works three have been produced with marked success: the
+"Christmas Overture," at one of the public concerts of the Manuscript
+Society, under the direction of Walter Damrosch; the overture "Im
+Fruehling," at concerts in Brooklyn and New York, under the baton of
+Theodore Thomas; and the American overture, "Hail Columbia!" at the
+Boston Peace Jubilee under Patrick Gilmore, at the Columbian
+Exposition under Thomas, and in New York under Anton Seidl.
+
+This last overture received the distinction of publication at Paris,
+by Schott et Cie. It is built on the rousing air of "Hail, Columbia!"
+This is suggested in the slow minor introduction; the air itself is
+indicated thematically as one of the subjects later appearing in full
+swing in a coda. The instrumentation is brilliant and the climax
+overwhelming.
+
+Altogether the work is more than adroit musical composition. It is a
+prairie-fire of patriotism.
+
+
+_L.A. Coerne._
+
+[Illustration: LOUIS ADOLPHE COERNE.]
+
+A grand opera by an American on an American subject is an achievement
+to look forward to. Though I have not seen this opera, called "A
+Woman of Marblehead," it is safe to predict, from a study of its
+composer's other works, that it is a thing of merit.
+
+Louis Adolphe Coerne, who wrote the music for this opera, was born in
+Newark, N.J., in 1870, and spent the years from six to ten in music
+study abroad, at Stuttgart and Paris. Returning to America, he entered
+Harvard College and studied harmony and composition under John Knowles
+Paine. He studied the violin under Kneisel. In 1890 he went to Munich,
+where he studied the organ and composition at the Royal Academy of
+Music, under Rheinberger, and the violin under Hieber. He now decided
+to give up the career of a violinist for that of composer, conductor,
+and organist. In 1893 he returned to Boston and acted as organist. A
+year later he went to Buffalo, where for three years he directed the
+Liedertafel.
+
+While in Harvard, Coerne had composed and produced a concerto for
+violin and 'cello with string orchestra accompaniment, a fantasy for
+full orchestra, and a number of anthems which were performed at the
+university chapel. While in Munich and Stuttgart he wrote and produced
+a string suite, an organ concerto with accompaniment of strings,
+horns, and harps, three choral works, and a ballet, "Evadne," on a
+subject of his own. His symphonic poem on Longfellow's "Hiawatha" was
+also produced there with much success under his personal direction,
+and later by the Boston Symphony Orchestra. He was invited then by
+Theodore Thomas to attend the World's Fair at Chicago, to give
+recitals on the great organ in Festival Hall.
+
+It has been my misfortune not to have heard or seen hardly any of his
+writings except the published "Character Pieces" from the ballet
+"Evadne" (op. 155). A "Clown's Dance" in bolero rhythm is delightful.
+The "Introduction to Act II." contains many varied ideas and one
+passage of peculiar harmonic beauty. A "Valse de Salon" has its good
+bits, but is rather overwrought. A "Devil's Dance" introduces some
+excellent harmonic effects, but the "Waltz with Chorus and Finale" is
+the best number of the opus. It begins in the orchestra with a most
+irresistible waltz movement that is just what a waltz should be. A
+chorus is then superimposed on this rhapsody, and a climax of superb
+richness attained.
+
+For the organ Coerne has written much and well. There is an adaptation
+of three pieces from the string quartette (op. 19); a graceful Minuet,
+a quaint Aria, and a Fugue. Then there are three Marches, which, like
+most marches written by contemplative musicians, are rather thematic
+than spirited, and marked by a restless and elaborate preparation for
+some great chant that is longed for, but never comes. Besides these,
+there are a very pleasant Pastoral, a good Elevation, and a Nocturne.
+
+Coerne's symphonic poem, "Hiawatha," has been arranged for the piano
+for four hands, and there is also an arrangement for violin or
+violoncello and piano, but I have not seen these. The thing we are all
+waiting for is that American grand opera, "A Woman of Marblehead." It
+is to be predicted that she will not receive the marble heart.
+
+
+
+
+CHAPTER IV.
+
+THE COLONISTS.
+
+
+Art does not prosper as hermit. Of course, every great creator has a
+certain aloofness of soul, and an inner isolation; but he must at
+times submit his work to the comparison of his fellow artists; he must
+profit by their discoveries as well as their errors; he must grow
+overheated in those passionate musical arguments that never convince
+any one out of his former belief, and serve salutarily to raise the
+temper, cultivate caloric, and deepen convictions previously held; he
+must exchange criticisms and discuss standards with others, else he
+will be eternally making discoveries that are stale and unprofitable
+to the rest of the world; he will seek to reach men's souls through
+channels long dammed up, and his achievements will be marred by naive
+triteness and primitive crudeness.
+
+So, while the artistic tendency may be a universal nervous system,
+artists are inclined to ganglionate. The nerve-knots vary in size and
+importance, and one chief ganglion may serve as a feeding brain, but
+it cannot monopolize the activity. In America, particularly, these
+ganglia, or colonies, are an interesting and vital phase of our
+development. For a country in which the different federated states
+are, many of them, as large as old-world kingdoms, it is manifestly
+impossible for any one capital to dominate. Furthermore, the national
+spirit is too insubordinate to accept any centre as an oracle.
+
+New York, which has certainly drawn to itself a preponderance of
+respectable composers, has yet been unable to gather in many of the
+most important, and like the French Academy, must always suffer in
+prestige because of its conspicuous absentees. In the second place,
+New York is the least serious and most fickle city in the country, and
+is regarded with mingled envy and patronage by other cities.
+
+Boston is even more unpopular with the rest of the country. And New
+York and other cities have enticed away so many of the leading spirits
+of her musical colony, that she cannot claim her once overwhelming
+superiority. And yet, Boston has been, and is, the highest American
+representative of that much abused term, culture. Of all the arts,
+music doubtless gets her highest favor.
+
+The aid Boston has been to American music is vital, and far outweighs
+that of any other city. That so magnificent an organization as its
+Symphony Orchestra could be so popular, shows the solidity of its
+general art appreciations. The orchestra has been remarkably willing,
+too, to give the American composer a chance to be heard. Boston has
+been not only the promulgator, but in a great measure the tutor, of
+American music.
+
+In Boston-town, folk take things seriously and studiously. In New York
+they take them fiercely, whimsically. Like most generalizations, this
+one has possibly more exceptions than inclusions. But it is
+convenient.
+
+It is convenient, too, to group together such of the residents of
+these two towns, as I have not discussed elsewhere. The Chicago
+coterie makes another busy community; and St. Louis and Cleveland have
+their activities of more than intramural worth; Cincinnati, which was
+once as musically thriving as its strongly German qualities
+necessitated, but which had a swift and strange decline, seems to be
+plucking up heart again. For this, the energy of Frank van der Stucken
+is largely to credit. Aside from the foreign-born composers there, one
+should mention the work of Richard Kieserling, Jr., and Emil Wiegand.
+The former went to Europe in 1891 and studied at the Leipzig
+Conservatory, under Reinecke, Homeyer, Rust, Schreck and Jadassohn. He
+also studied conducting under Sitt. At his graduation, he conducted a
+performance of his own composition, "Jeanne d'Arc." He returned to his
+native city, Cincinnati, in 1895, where he has since remained,
+teaching and conducting. Among his works, besides piano pieces and
+songs, are: "A May Song," for women's chorus and piano; six pieces for
+violin and piano; "Harold," a ballad for male chorus, barytone solo,
+and orchestra; "Were It Not For Love," composed for male chorus;
+several sets of male choruses; a motet for mixed chorus a cappella; a
+berceuse for string orchestra, an introduction and rondo for violin
+and orchestra; and a "Marche Nuptiale," for grand orchestra.
+
+Emil Wiegand was also born in Cincinnati, and had his first tuition on
+the violin from his father. His theoretical studies have been received
+entirely in Cincinnati. He is a member of the local Symphonic
+Orchestra, and has composed an overture for grand orchestra, a string
+quartette, and various pieces for the violin, piano, and voice.
+
+In San Francisco there is less important musical composition than
+there was in the days when Kelley and Page were active there. The work
+of H.B. Pasmore is highly commended by _cognoscenti_, as are also the
+works of Frederick Zeck, Jr., who was born in San Francisco, studied
+in Germany, and has composed symphonies, a symphonic poem, "Lamia," a
+romantic opera, and other works; Samuel Fleischmann, born in
+California and educated abroad, a concert pianist, who has written,
+among other things, an overture, "Hero and Leander," which was
+performed in New York; and P.C. Allen, who studied in Europe, and has
+written well.
+
+But the larger cities do not by any means contain all the worthy
+composition. In many smaller cities, and in a few villages even, can
+be found men of high culture and earnest endeavor.
+
+In Yonkers, New York, is Frederick R. Burton, who has written a
+dramatic cantata on Longfellow's "Hiawatha," which has been frequently
+performed. In this work use is made of an actual Indian theme, which
+was jotted down by H.E. Krehbiel, and is worked up delightfully in
+the cantata, an incessant thudding of a drum in an incommensurate
+rhythm giving it a decidedly barbaric tone. The cantata contains also
+a quaint and touching contralto aria, and a pathetic setting of the
+death-song of Minnehaha. Burton is a graduate of Harvard, and a writer
+as well as a composer. He organized, in 1896, the Yonkers Choral
+Society, of which he is conductor.
+
+At Hartford, Conn., is Nathan H. Allen, who was born in Marion, Mass.,
+in 1848. In 1867 he went to Berlin, where he was a pupil of Haupt for
+three years. In this country he has been active as an organist and
+teacher. Many of his compositions of sacred music have been published,
+including a cantata, "The Apotheosis of St. Dorothy."
+
+At Providence, R.I., a prominent figure is Jules Jordan, who was born
+at Willimantic, Conn., November 10, 1850, of colonial ancestry. Though
+chiefly interested in oratorio singing, in which he has been
+prominent, he has written a number of songs, some of which have been
+very popular. The best of these are a rapturous "Love's Philosophy," a
+delicious "Dutch Lullaby," "An Old Song," and "Stay By and Sing." He
+has written some religious songs, part songs, and three works for
+soli, chorus, and orchestra, "Windswept Wheat," "A Night Service," and
+"Barbara Frietchie;" also "Joel," a dramatic scene for soprano and
+orchestra, sung at the Worcester Musical Festival by Mme. Nordica.
+This I have not seen, nor his romantic opera, "Rip Van Winkle." In
+June, 1895, Brown University conferred on him the degree of Doctor of
+Music. Two albums of his songs are published.
+
+A writer of many religious solos and part songs is E.W. Hanscom, who
+lives in Auburn, Me. He was born at Durham, in the same State,
+December 28, 1848. He has made two extended visits to London, Berlin
+and Vienna, for special work under eminent teachers, but has chiefly
+studied in Maine. Besides his sacred songs Hanscom has published a
+group of six songs, all written intelligently, and an especially good
+lyric, "Go, Rose, and in Her Golden Hair," a very richly harmonized
+"Lullaby," and two "Christmas Songs," with violin obbligato.
+
+In Delaware, Ohio, at the Ohio Wesleyan University, is a composer,
+Willard J. Baltzell, who has found inspiration for many worthy
+compositions, but publishers for only two, both of these part songs,
+"Dreamland" and "Life is a Flower," of which the latter is very
+excellent writing.
+
+Baltzell was for some years a victim of the musical lassitude of
+Philadelphia. He had his musical training there. He has written in the
+large forms a suite founded on Rossetti's "Love's Nocturne," an
+overture, "Three Guardsmen," a "Novelette" for orchestra, a cantata,
+"The Mystery of Life," and an unfinished setting of Psalm xvii. with
+barytone solo. These are all scored for orchestra, and the manuscript
+that I have seen shows notable psychological power. Other works are: a
+string quartette, a trio, "Lilith," based on Rossetti's poem, "Eden
+Bower," a nonet, and a violin sonata. He has also written for the
+piano and organ fugues and other works. These I have not seen; but I
+have read many of his songs in manuscript, and they reveal a
+remarkable strenuousness, and a fine understanding of the poetry. His
+song, "Desire," is full of high-colored flecks of harmony that dance
+like the golden motes in a sunbeam. His "Madrigal" has much style and
+humor. He has set to music a deal of the verse of Langdon E. Mitchell,
+besides a song cycle, "The Journey," which is an interesting
+failure,--a failure because it cannot interest any public singer, and
+interesting because of its artistic musical landscape suggestion; and
+there are the songs, "Fallen Leaf," which is deeply morose, and
+"Loss," which has some remarkable details and a strange, but
+effective, ambiguous ending. Other songs are a superbly rapturous
+setting of E.C. Stedman's "Thou Art Mine," and a series of songs to
+the words of Richard Watson Gilder, a poet who is singularly
+interesting to composers: "Thistledown" is irresistibly volatile;
+"Because the Rose Must Fade" has a nobility of mood; "The Winter
+Heart" is a powerful short song, and "Woman's Thought," aside from one
+or two dangerous moments, is stirring and intense. Baltzell writes
+elaborate accompaniments, for which his skill is sufficient, and he is
+not afraid of his effects.
+
+In the far Xanadu of Colorado lives Rubin Goldmark, a nephew of the
+famous Carl Goldmark. He was born in New York in 1872. He attended the
+public schools and the College of the City of New York. At the age of
+seven he began the study of the piano with Alfred M. Livonius, with
+whom he went to Vienna at the age of seventeen. There he studied the
+piano with Anton Door, and composition with Fuchs, completing in two
+years a three years' course in harmony and counterpoint. Returning to
+New York, he studied with Rafael Joseffy and with Doctor Dvorak for
+one year. In 1892 he went to Colorado Springs for his health. Having
+established a successful College of Music there, he has remained as
+its director and as a lecturer on musical topics.
+
+At the age of nineteen he wrote his "Theme and Variations" for
+orchestra. They were performed under Mr. Seidl's leadership in 1895
+with much success. Their harmonies are singularly clear and sweet, of
+the good old school. At the age of twenty Goldmark wrote a trio for
+piano, violin, and 'cello. After the first performance of this work at
+one of the conservatory concerts, Doctor Dvorak exclaimed, "There are
+now two Goldmarks." The work has also had performance at the concerts
+of the Kaltenborn Quartette, and has been published. It begins with a
+tentative questioning, from which a serious allegro is led forth. It
+is lyrical and sane, though not particularly modern, and certainly not
+revolutionary in spirit. The second movement, a romanza, shows more
+contrapuntal resource, and is full of a deep yearning and appeal,--an
+extremely beautiful movement. The scherzo evinces a taking jocosity
+with a serious interval. The piano part is especially humorous. The
+finale begins with a touch of Ethiopianism that is perhaps
+unconscious. The whole movement is very original and quaint.
+
+Goldmark's music shows a steady development from a conservative
+simplicity to a modern elaborateness, a development thoroughly to be
+commended if it does not lead into obscurity. This danger seems to
+threaten Goldmark's career, judging from his cantata for chorus and
+orchestra, the "Pilgrimage to Kevlaar," which, while highly
+interesting in places, and distinctly resourceful, is too abstruse and
+gloomy to stand much chance of public understanding.
+
+Many of the works that I have had the privilege of examining in MS.
+have since been published; there is much originality, much attainment,
+and more promise in a number of his songs. His setting of Marlowe's
+"Come Live with Me," in spite of a few eccentricities, shows, on the
+whole, a great fluency of melody over an elaborately beautiful
+accompaniment. His solemn and mysterious "Forest Song" could deserve
+the advertisement of being "drawn from the wood." "Die erste Liebe"
+shows a contemplative originality in harmony, and ends with a curious
+dissonance and resolution. "O'er the Woods' Brow" is very strange and
+interesting, though somewhat abstruse. Less so is a song, "An den
+Abendsstern;" it has a comparison-forcing name, but is a delightful
+song. "Es muss ein Wunderbares sein" is notable for novel effects in
+harmonies of crystal with light dissonances to edge the facets. A
+sonata for piano and violin and a romanza for 'cello have been
+published, and his "Hiawatha" overture has been played by the Boston
+Symphony Orchestra. On this occasion the always quoteworthy
+mezzotintist, James Huneker, wrote:
+
+    "The nephew of a very remarkable composer,--for Carl Goldmark
+    outranks to-day all the Griegs, Massenets, Mascagnis,
+    Saint-Saens, and Dvoraks you can gather,--he needs must fear
+    the presence in his scores of the avuncular apparition. His
+    'Hiawatha' overture was played by Mr. Gericke and the Boston
+    Symphony Orchestra Wednesday of last week. At the first
+    cantilena on the strings I nearly jumped out of my seat. It
+    was bewilderingly luscious and Goldmarkian,--a young Goldmark
+    come to judgment. The family gifts are color and rhythm. This
+    youth has them, and he also has brains. Original invention is
+     yet to come, but I have hopes. The overture, which is not
+    Indian, is full of good things, withal too lengthy in the
+    free fantasia. There is life, and while there's life there's
+    rhythm, and a nice variety there is. The allegro has one
+    stout tune, and the rush and dynamic glow lasts. He lasts,
+    does Rubin Goldmark, and I could have heard the piece through
+    twice. The young American composer has not been idle lately."
+
+
+_The New York Colony._
+
+In every period where art is alive there must be violent faction, and
+wherever there is violent faction there is sure to be a _tertium quid_
+that endeavors to bridge the quarrel. The Daniel Websters call forth
+the Robert Haynes, and the two together evoke the compromisers, the
+Henry Clays.
+
+In the struggle between modernity and classicism that always rages
+when music is in vitality, one always finds certain ardent spirits who
+endeavor to reconcile the conflicting theories of the different
+schools, and to materialize the reconciliation in their own work. An
+interesting example of this is to be found in the anatomical
+construction of one of the best American piano compositions, the
+fantasy for piano and orchestra by Arthur Whiting.
+
+The composer has aimed to pay his respects to the classic sonata
+formula, and at the same time to warp it to more romantic and modern
+usages. The result of his experiment is a form that should interest
+every composer. As Whiting phrases it, he has "telescoped" the sonata
+form. The slow introduction prepares for the first and second
+subjects, which appear, as usual, except that they are somewhat
+developed as they appear. Now, in place of the regular development,
+the pastoral movement is brought forward. This is followed by the
+reprise of the first and second subjects. Then the finale appears. All
+of these movements are performed without pause, and the result is so
+successful that Whiting is using the same plan for a quintette.
+
+Handwriting experts are fond of referring to the "picture effect" of a
+page of writing. It is sometimes startling to see the resemblance in
+"picture effect" between the music pages of different composers. The
+handsomely abused Perosi, for instance, writes many a page, which, if
+held at arm's length, you would swear was one of Palestrina's. Some of
+Mr. Whiting's music has a decidedly Brahmsic picture effect. This
+feeling is emphasized when one remembers the enthusiasm shown for
+Brahms in Whiting's concerts, where the works of the Ursus Minor of
+Vienna hold the place of honor. The resemblance is only skin deep,
+however, and Whiting's music has a mind of its own.
+
+The fantasy in question (op. 11) is full of individuality and
+brilliance. The first subject is announced appassionato by the
+strings, the piano joining with arabesquery that follows the general
+outlines. After this is somewhat developed, the second subject comes
+in whimsically in the relative major. This is written with great
+chromatic lusciousness, and is quite liberally developed. It suddenly
+disappears into what is ordinarily called the second movement, a
+pastoral, in which the piano is answered by the oboe, flute, clarinet,
+and finally the horn. This is gradually appassionated until it is
+merged into the reprise of the first movement proper. During this
+reprise little glints of reminiscence of the pastoral are seen. A coda
+of great bravery leads to the last movement, which is marked
+"scherzando," but is rather martial in tone. The decidedly noble
+composition ends with great brilliancy and strength. It is published
+for orchestral score and for two pianos.
+
+Whiting was born in Cambridge, Mass., June 20, 1861. He studied the
+piano with William H. Sherwood, and has made a successful career in
+concert playing with the Boston Symphony Orchestra and the Kneisel
+Quartette, both of which organizations have performed works of his. In
+1883 he went to Munich for two years, where he studied counterpoint
+and composition with Rheinberger. He is now living in New York as a
+concert pianist and teacher.
+
+[Music: Idylle.
+
+Arthur Whiting.
+
+Copyright, 1895, by G. Schirmer.
+
+A FRAGMENT.]
+
+Four works of his for the piano are: "Six Bagatelles," of which the
+"Caprice" has a charming infectious coda, while the "Humoreske" is
+less simple, and also less amusing. The "Album Leaf" is a pleasing
+whimsy, and the "Idylle" is as delicate as fleece. Of the three
+"Characteristic Waltzes," the "Valse Sentimentale" is by far the most
+interesting. It manages to develop a sort of harmonic haze that is
+very romantic.
+
+For the voice, Whiting has written little. Church music interests him
+greatly, and he has written various anthems, a morning and evening
+service, which keeps largely to the traditional colors of the
+Episcopal ecclesiastical manner, yet manages to be fervent without
+being theatrical. A trio, a violin sonata, and a piano quintette, a
+suite for strings, and a concert overture for orchestra complete the
+list of his writings.
+
+On the occasion of a performance of Whiting's "Fantasy," Philip Hale
+thus picturesquely summed him up:
+
+    "In times past I have been inclined to the opinion that when
+    Mr. Whiting first pondered the question of a calling he must
+    have hesitated between chess and music. His music seemed to
+    me full of openings and gambits and queer things contrived as
+    in a game. He was the player, and the audience was his
+    antagonist. Mr. Whiting was generally the easy conqueror. The
+    audience gave up the contest and admired the skill of the
+    musician.
+
+    "You respected the music of Mr. Whiting, but you did not feel
+    for it any personal affection. The music lacked humanity. Mr.
+    Whiting had, and no doubt has, high ideals. Sensuousness in
+    music seemed to him as something intolerable, something
+    against public morals, something that should be suppressed
+    by the selectmen. Perhaps he never went so far as to petition
+    for an injunction against sex in music; but rigorous
+    intellectuality was his one aim. He might have written A
+    Serious Call to Devout and Holy Composition, or A Practical
+    Treatise upon Musical Perfection, to which is now added, by
+    the same author, The Absolute Unlawfulness of the Stage
+    Entertainment Fully Demonstrated.
+
+    "There was almost intolerance in Mr. Whiting's musical
+    attitude. He himself is a man of wit rather than humor, a man
+    with a very pretty knack at sarcasm. He is industrious,
+    fastidious, a severe judge of his own works. As a musician he
+    was even in his dryest days worthy of sincere respect.
+
+    "Now this fantasia is the outward and sure expression of a
+    change in Mr. Whiting's way of musical thinking, and the
+    change is decidedly for the better. There is still a display
+    of pure intellectuality; there is still a solving of
+    self-imposed problems; but Mr. Whiting's musical enjoyment is
+    no longer strictly selfish. Here is a fantasia in the true
+    sense of the term; form is here subservient to fancy. The
+    first movement, if you wish to observe traditional
+    terminology, is conspicuous chiefly for the skill, yes,
+    fancy, with which thematic material of no marked apparent
+    inherent value is treated. The pastorale is fresh and
+    suggestive. The ordinary pastorale is a bore. There is the
+    familiar recipe: take an oboe the size of an egg, stir it
+    with a flute, add a little piano, throw in a handful of
+    muted strings, and let the whole gently simmer in a 9-8
+    stew-pan. But Mr. Whiting has treated his landscape and
+    animal kingdom with rare discretion. The music gave pleasure;
+    it soothed by its quiet untortured beauty, its simplicity,
+    its discretion. And in like manner, without receiving or
+    desiring to receive any definite, precise impression, the
+    finale interested because it was not a hackneyed form of
+    brilliant talk. The finale is something more than clever, to
+    use a hideous term that I heard applied to it. It is
+    individual, and this praise may be awarded the whole work.
+    Remember, too, that although this is a fantasia, there is not
+    merely a succession of unregulated, uncontrolled, incoherent
+    sleep-chasings.
+
+    "In this work there is a warmer spirit than that which
+    animated or kept alive Mr. Whiting's former creations. There
+    is no deep emotion, there is no sensuousness, there is no
+    glowing color, no 'color of deciduous days.' These might be
+    incongruous in the present scheme. But there is a more
+    pronounced vitality, there is a more decided sympathy with
+    the world and men and women; there is more humanity.
+
+    "The piano is here an orchestral instrument, and as such it
+    was played admirably by Mr. Whiting. His style of playing is
+    his own, even his tone seems peculiarly his own, with a
+    crispness that is not metallic, with a quality that deceives
+    at first in its carrying power. His performance was
+    singularly clean and elastic, its personality was refreshing.
+    He played the thoughts of Mr. Whiting in Mr. Whiting's way.
+    And thus by piece and performance did he win a legitimate
+    success."
+
+[Illustration: HENRY HOLDEN HUSS.]
+
+Many American composers have had their first tuition from their
+mothers; few from their fathers. Mr. Huss is one of the latter few.
+The solidity of his musical foundation bespeaks a very correct
+beginning. He was born in Newark, N.J., June 21, 1862. His first
+teacher in the theory of music was Otis B. Boise, who has been for the
+last twenty years a teacher of theory in Berlin, though he was born in
+this country. Huss went to Munich in 1883 and remained three years. He
+studied counterpoint under Rheinberger, and won public mention for
+proficiency. At his second examination his idyl for small orchestra,
+"In the Forest," was produced; and at his graduation he performed his
+"Rhapsody" in C major for piano and orchestra. A year after his return
+to America this work was given by the Boston Symphony Orchestra. A
+year later Van der Stucken gave it at the first of his concerts of
+American compositions. The next year Huss' "Ave Maria," for women's
+voices, string orchestra, harp, and organ, was given a public hearing.
+The next year he gave a concert of his own works, and the same year,
+1889, Van der Stucken produced his violin romance and polonaise for
+violin and orchestra at the Paris Exposition.
+
+His piano concerto for piano and orchestra he played first with the
+Boston Symphony Orchestra in 1894, and has given it on numerous
+occasions since.
+
+Other works, most of which have also been published, are: "The
+Fountain," for women's voices a cappella; a festival "Sanctus," for
+chorus and orchestra; an "Easter Theme," for chorus, organ, and
+orchestra; "The Winds," for chorus and orchestra, with soprano and
+alto solos; a "Festival March," for organ and orchestra; a concerto
+for violin, and orchestra; a trio for piano, violin, and 'cello; a
+"Prelude Appassionata," for the piano, dedicated to and played by Miss
+Adele aus der Ohe, to whom the concerto is also dedicated.
+
+This concerto, which is in D major, is a good example of the
+completeness of Huss' armory of resources. The first movement has the
+martial pomp and hauteur and the Sardanapalian opulence and color that
+mark a barbaric triumph. Chopin has been the evident model, and the
+result is always pianistic even at its most riotous point. Huss has
+ransacked the piano and pillaged almost every imaginable fabric of
+high color. The great technical difficulties of the work are entirely
+incidental to the desire for splendor. The result is gorgeous and
+purple. The andante is hardly less elaborate than the first movement,
+but in the finale there is some laying off of the _impedimenta_ of the
+pageant, as if the paraders had put aside the magnificence for a
+period of more informal festivity. The spirit is that of the scherzo,
+and the main theme is the catchiest imaginable, the rhythm curious and
+irresistible, and the entire mood saturnalian. In the coda there is a
+reminder of the first movement, and the whole thing ends in a blaze of
+fireworks.
+
+On the occasion of its first performance in Cincinnati, in 1889,
+Robert I. Carter wrote:
+
+    "It is preeminently a symphonic work, in which the piano is
+    used as a voice in the orchestra, and used with consummate
+    skill. The charm of the work lies in its simplicity. The
+    pianist will tell you at once that it is essentially
+    pianistic, a term that is much abused and means little. The
+    traditional cadenza is there, but it is not allowed to step
+    out of the frame, and so perfect is the relation to what
+    precedes and follows, that the average listener might claim
+    that it does not exist. Without wishing to venture upon any
+    odious grounds of comparison, I want to state frankly that it
+    is, to me, emphatically the best American concerto."
+
+Huss is essentially a dramatic and lyric composer, though he seems to
+be determined to show himself also a thematic composer of the old
+school. In his trio, which I heard played by the Kaltenborn Quartette,
+both phases of his activity were seen. There was much odor of the lamp
+about the greater part of the trio, which seemed generally lacking
+that necessary capillarity of energy which sometimes saturates with
+life-sap the most formal and elaborate counterpoint of the
+pre-romantic strata. The andante of the trio, however, displayed Huss'
+singularly appealing gift of song. It abounded in emotion, and was--to
+use the impossible word Keats coined--"yearnful." Huss should write
+more of this sort of music. We need its rare spontaneity and truth, as
+we do not need the all too frequent mathematics of those who compose,
+as Tybalt fought, "by the book."
+
+For the piano there are "Three Bagatelles:" an "Etude Melodique,"
+which is rather harmonic than melodic; an "Albumblatt," a graceful
+movement woven like a Schumann arabesque; and a "Pastoral," in which
+the gracefulness of the music given to the right hand is annulled by
+the inexplicable harshness of that given to the left.
+
+For the voice, there is, of course, a setting of "Du bist wie eine
+Blume," which, save for the fact that it looks as if the accompaniment
+were written first, is a very pure piece of writing. The "Song of the
+Syrens" is a strong composition with a big climax, the "Jessamine Bud"
+is extremely delicate, and "They that Sow in Tears" has much dignity.
+There are two songs from Tennyson, "There is Sweet Music Here" and
+"Home They Brought Her Warrior Dead," with orchestral accompaniment.
+
+By all odds the most important, and a genuinely improved composition
+is the aria for soprano and orchestra, "The Death of Cleopatra." The
+words are taken from Shakespeare's play and make use of the great
+lines given to the dying Egypt, "Give me my robe, put on my crown, I
+have immortal longings in me," and the rest. The music not only pays
+all due reverence to the sacred text, but is inspired by it, and
+reaches great heights of fervor and tragedy. From Shakespeare, Huss
+drew the afflation for another aria of great interest, a setting for
+barytone voice of the "Seven Ages of Man." The problems attending the
+putting to music of Shakespeare's text are severe; but the plays are
+gold mines of treasure for the properly equipped musician.
+
+A vivid example of the difficulties in the way of American composers'
+securing an orchestral hearing is seen in the experience of Howard
+Brockway, who had a symphony performed in 1895 by the Berlin
+Philharmonic Orchestra, and has been unable to get a hearing or get
+the work performed in America during the five years following, in
+spite of the brilliancy of the composition. The scoring of the work is
+so mature that one can see its skill by a mere glance at the page from
+a distance. When the work was performed in Germany, it was received
+with pronounced favor by the Berlin critics, who found in it a
+conspicuous absence of all those qualities which the youth of the
+composer would have made natural.
+
+Brockway was born in Brooklyn, November 22, 1870, and studied piano
+with H.O.C. Kortheuer from 1887 to 1889. He went to Berlin at the
+age of twenty and studied the piano with Barth, and composition with
+O.B. Boise, the transplanted American. Boise gave Brockway so
+thorough a training that he may be counted one of the most fluent and
+completely equipped American composers. At the age of twenty-four he
+had finished his symphony (op. 12), a ballade for orchestra (op. 11),
+and a violin and piano sonata (op. 9), as well as a cavatina for
+violin and orchestra. These, with certain piano solos, were given at a
+concert of Brockway's own works in February, 1895, at the
+Sing-Akademie. His works were accepted as singularly mature, and
+promising as well. A few months later, Brockway returned to New York,
+where he has since lived as a teacher and performer.
+
+His symphony, which is in D major, is so ebullient with life that its
+dashing first subject cannot brook more than a few measures of slow
+introduction. The second subject is simpler, but no less joyous. The
+thematic work is scholarly and enthusiastic at the same time. The
+different movements of the symphony are, however, not thematically
+related, save that the coda of the last movement is a reminiscence of
+the auxiliary theme of the first movement. The andante, in which the
+'cellos are very lyrical, is a tender and musing mood. The presto is
+flashing with life and has a trio of rollicking, even whooping,
+jubilation. The finale begins gloomily and martially, and it is
+succeeded by a period of beauty and grace. This movement, in fact, is
+a remarkable combination of the exquisitest beauty and most
+unrestrained prowess.
+
+Another orchestral work of great importance in American music is the
+"Sylvan Suite" (op. 19), which is also arranged for the piano. In this
+work the composer has shown a fine discretion and conservation in the
+use of the instruments, making liberal employment of small choirs for
+long periods. The work is programmatic in psychology only. It begins
+with a "Midsummer Idyl," which embodies the drowsy petulance of hot
+noon. The second number is "Will o' the Wisps." In this a three-voiced
+fugue for the strings, wood, and one horn has been used with
+legitimate effect and most teasing, fleeting whimsicality. The third
+movement is a slow waltz, called "The Dance of the Sylphs," a very
+catchy air, swaying delicately in the bassoons and 'cello; a short
+"Evening Song" is followed by "Midnight." This is a parade that
+reminds one strongly of Gottschalk's "Marche de Nuit." The march
+movement is followed by an interlude depicting the mystery of night,
+as Virgil says, "_tremulo sub lumine_." The composer has endeavored to
+indicate the chill gray of dawn by the ending of this movement: a
+chord taken by two flutes and the strings shivering _sul ponticello_.
+The last movement is "At Daybreak." Out of the gloom of the bassoons
+grows a broad and general luminous song followed by an interlude of
+the busy hum of life; this is succeeded by the return of the sunrise
+theme with a tremendously vivacious accompaniment.
+
+Other works of Brockway's are: a cantata, a set of variations, a
+ballade, a nocturne, a Characterstueck, a Fantasiestueck, a set of four
+piano pieces (op. 21), and two piano pieces (op. 25). All of these,
+except the cantata, have been published. Two part songs and two songs
+with piano accompaniment have also been published; a violin sonata, a
+Moment Musicale, and a romanza for violin and orchestra have been
+published in Berlin.
+
+These works all show a decided tendency to write brilliant and
+difficult music, but the difficulties are legitimate to the effect and
+the occasion. The Ballade works up a very powerful climax; the
+Scherzino swishes fascinatingly; and the Romanza for piano is a
+notably mature and serious work.
+
+[Music: Copyright, 1894, by Schlesinger'sche Buch und Musikhandlung
+(Rob. Lienau), Berlin.
+
+FRAGMENT OF A "BALLADE" BY HOWARD BROCKWAY.]
+
+Two ballads have made the so romantic name of Harry Rowe Shelley a
+household word in America. They are the setting of Tom Moore's fiery
+"Minstrel Boy," and a strange jargon of words called "Love's Sorrow."
+In both cases the music is intense and full of fervor, and quick
+popularity rarely goes out to more worthy songs.
+
+[Illustration: Autograph of Harry Rowe Shelley]
+
+[Illustration: HARRY ROWE SHELLEY.]
+
+But Shelley would doubtless prefer to be judged by work to which he
+has given more of his art and his interest than to the many songs that
+he has tossed off in the light name of popularity.
+
+Shelley's life has been largely devoted to church work. Born in New
+Haven, Conn., June 8, 1858, and taught music by Gustav J. Stoeckel, he
+came under the tuition of Dudley Buck for seven years. His twentieth
+year found him an organist at New Haven. Three years later he went to
+Brooklyn in the same capacity. He was the organist at Plymouth Church
+for some time before Henry Ward Beecher's death. Since 1887 he has
+been at the Church of the Pilgrims. He visited Europe in 1887 and
+studied under Dvorak when the Bohemian master was here.
+
+Shelley's largest works have been an opera, "Leila," still in
+manuscript, a symphonic poem, "The Crusaders," a dramatic overture,
+"Francesca da Rimini," a sacred oratorio, "The Inheritance Divine," a
+suite for orchestra, a fantasy for piano and orchestra (written for
+Rafael Joseffy), a one-act musical extravaganza, a three-act lyric
+drama, and a virile symphony. The suite is called "Souvenir de
+Baden-Baden." It is a series of highly elaborated trifles of much
+gaiety, and includes a lively "Morning Promenade," a dreamy "Siesta,"
+a "Conversationshaus Ball," and a quaint "Serenade Orientale" that
+shows the influence of Mozart's and Beethoven's marches alla turca.
+The orchestration of this work I have never heard nor seen. Its
+arrangement for four hands, however, is excellently done, with
+commendable attention to the interests of the _secondo_ player.
+
+The cantata is called "The Inheritance Divine," and it is much the
+best thing Shelley has done. It begins with a long, slow crescendo on
+the word "Jerusalem," which is very forceful. Shelley responds to an
+imaginary encore, however, and the word becomes little more than an
+expletive.
+
+Page 7--to refer more conveniently than technically--is marked by
+sonorous harmonies of especial nobility. Now begins a new idea worked
+up with increased richness and growing fervor to a sudden magnificence
+of climax in the second measure on page 11. The final phrase,
+strengthened by an organ-point on two notes, is fairly thrilling. A
+tenor solo follows, its introductory recitative containing many fine
+things, its aria being smoothly melodious. A chorus, of warm harmonies
+and a remarkably beautiful and unexpected ending, is next; after which
+is a sombre, but impressive alto solo. The two successive choruses,
+the quartette, and the soprano solo catch the composer nodding. The
+bass solo is better; the final chorus brings us back to the high
+plane. Page 62 is particularly big of spirit, and from here on the
+chorus climbs fiery heights. In spite of Berlioz' famous parody on the
+"Amen" fugues, in the "Damnation of Faust," Shelley has used the word
+over a score of times in succession to finish his work. But altogether
+the work is one of maturity of feeling and expression, and it is a
+notable contribution to American sacred music.
+
+In 1898 "Death and Life" was published. It opens with a dramatic
+chorus sung by the mob before the cross, and it ends daringly with a
+unisonal descent of the voices that carries even the sopranos down to
+A natural. In the duet between Christ and Mary, seeking where they
+have laid her Son, the librettist has given Christ a versified
+paraphrase which is questionable both as to taste and grammar. The
+final chorus, however, has a stir of spring fire that makes the work
+especially appropriate for Easter services.
+
+The cantata "Vexilla Regis" is notable for its martial opening chorus,
+the bass solo, "Where deep for us the spear was dyed," and its
+scholarly and effective ending.
+
+A lapidary's skill and delight for working in small forms belongs to
+Gerrit Smith. His "Aquarelles" are a good example of his art in
+bijouterie. This collection includes eight songs and eight piano
+sketches. The first, "A Lullaby," begins with the unusual skip of a
+ninth for the voice. A subdued accentuation is got by the syncopation
+of the bass, and the yearning tenderness of the ending finishes an
+exquisite song. "Dream-wings" is a graceful fantasy that fittingly
+presents the delicate sentiment of Coleridge' lyrics. The setting of
+Heine's "Fir-tree" is entirely worthy to stand high among the numerous
+settings of this lyric. Smith gets the air of desolation of the bleak
+home of the fir-tree by a cold scale of harmony, and a bold simplicity
+of accompaniment. The home of the equally lonely palm-tree is strongly
+contrasted by a tropical luxuriance of interlude and accompaniment.
+
+The sixth song is a delightful bit of brilliant music, but it is quite
+out of keeping with the poem. Thus on the words, "Margery's only
+three," there is a fierce climax fitting an Oriental declaration of
+despair. The last of these songs, "Put by the Lute," is possibly
+Smith's best work. It is superb from beginning to end. It opens with a
+most unhackneyed series of preludizing arpeggios, whence it breaks
+into a swinging lyric, strengthened into passion by a vigorous
+contramelody in the bass. Throughout, the harmonies are most
+original, effective, and surprising.
+
+Of the eight instrumental pieces in this book, the exquisite and
+fluent "Impromptu" is the best after the "Cradle Song," which is
+drowsy with luscious harmony and contains a passage come organo of
+such noble sonority as to put it a whit out of keeping with a child's
+lullaby.
+
+Smith was born December 11, 1859, at Hagerstown, Md. His first
+instruction was gained in Geneva, N.Y., from a pupil of Moscheles. He
+began composition early, and works of his written at the age of
+fourteen were performed at his boarding-school. He graduated at Hobart
+College in 1876, whence he went to Stuttgart to study music and
+architecture. A year later he was in New York studying the organ with
+Samuel P. Warren. He was appointed organist at St. Paul's, Buffalo,
+and studied during the summer with Eugene Thayer, and William H.
+Sherwood. In 1880 he went again to Germany, and studied organ under
+Haupt, and theory under Rohde, at Berlin. On his return to America he
+took the organ at St. Peter's, in Albany. Later he came to New York,
+where he has since remained continuously, except for concert tours and
+journeys abroad. He has played the organ in the most important English
+and Continental towns, and must be considered one of our most
+prominent concert organists. He is both a Master of Arts and a Doctor
+of Music. As one of the founders, and for many years the president, of
+the Manuscript Society, he was active in obtaining a hearing for much
+native music otherwise mute.
+
+In addition to a goodly number of Easter carols, Christmas anthems, Te
+Deums, and such smaller forms of religious music, Smith has written a
+sacred cantata, "King David." Aside from this work, which in
+orchestration and in general treatment shows undoubted skill for large
+effort, Doctor Smith's composition has been altogether along the
+smaller lines.
+
+The five-song'd opus 14 shows well matured lyric power, and an
+increase in fervor of emotion. Bourdillon's "The Night Has a Thousand
+Eyes," which can never be too much set to music, receives here a truly
+superb treatment. The interlude, which also serves for finale, is
+especially ravishing. "Heart Longings" is one of Mr. Smith's very best
+successes. It shows a free passion and a dramatic fire unusual for his
+rather quiet muse. The setting of Bourdillon's fine lyric is indeed so
+stirring that it deserves a high place among modern songs. "Melody"
+is a lyric not without feeling, but yet inclusive of most of Smith's
+faults. Thus the prelude, which is a tritely flowing allegro, serves
+also for interlude as well as postlude, and the air and accompaniment
+of both stanzas are unvaried, save at the cadence of the latter
+stanza. The intense poesy of Anna Reeve Aldrich, a poetess cut short
+at the very budding of unlimited promise, deserved better care than
+this from a musician. Two of Smith's works were published in Millet's
+"Half-hours with the Best Composers,"--one of the first substantial
+recognitions of the American music-writer. A "Romance," however, is
+the best and most elaborate of his piano pieces, and is altogether an
+exquisite fancy. His latest work, a cycle of ten pieces for the piano,
+"A Colorado Summer," is most interesting. The pieces are all lyrical
+and simple, but they are full of grace and new colors.
+
+[Music: Spring.
+
+Words by Alfred Tennyson.
+
+GERRIT SMITH, OP. 13, NO. 4.
+
+    Bird's love and bird's song,
+    Flying here and there,
+    Bird's song and bird's love,
+    And you with gold for hair.
+    Bird's song and bird's love,
+    Passing with the weather,
+    Men's song and men's love,
+    To love once and forever.
+
+Copyright, 1894, by Arthur P. Schmidt.
+
+A FRAGMENT.]
+
+But Smith's most individual work is his set of songs for children,
+which are much compared, and favorably, with Reinecke's work along the
+same lines. These are veritable masterpieces of their sort, and they
+are mainly grouped into opus 12, called "Twenty-five Song Vignettes."
+
+So well are they written that they are a safe guide, and worthy that
+supreme trust, the first formation of a child's taste. Even
+dissonances are used, sparingly but bravely enough to give an idea of
+the different elements that make music something more than a sweetish
+impotence. They are vastly different from the horrible trash children
+are usually brought up on, especially in our American schools, to the
+almost incurable perversion of their musical tastes. They are also so
+full of refinement, and of that humor without which children cannot
+long be held, that they are of complete interest also to "grown-ups,"
+to whom alone the real artistic value of these songs can entirely
+transpire. Worthy of especial mention are the delicious "Stars and
+Angels;" the delightful "A Carriage to Ride In;" "Good King Arthur," a
+captivating melody, well built on an accompaniment of "God Save the
+King;" "Birdie's Burial," an elegy of the most sincere pathos, quite
+worthy of a larger cause,--if, indeed, any grief is greater than the
+first sorrows of childhood; the surprisingly droll "Barley Romance;"
+"The Broom and the Rod," with its programmatic _glissandos_ to give
+things a clean sweep; and other delights like the "Rain Song," "The
+Tomtit Gray," "Mamma's Birthday," and "Christmas at the Door." To have
+given these works their present value and perfection, is to have
+accomplished a far greater thing than the writing of a dozen tawdry
+symphonies.
+
+One of the most outrageously popular piano pieces ever published in
+America was Homer N. Bartlett's "Grande Polka de Concert." It was his
+opus 1, written years ago, and he tells me that he recently refused a
+lucrative commission to write fantasies on "Nearer My God to Thee" and
+"The Old Oaken Bucket"! So now that he has reformed, grown wise and
+signed the musical pledge, one must forgive him those wild oats from
+which he reaped royalties, and look to the genuine and sincere work he
+has latterly done. Let us begin, say, with opus 38, a "Polonaise" that
+out-Herods Chopin in bravura, but is full of vigor and well held
+together. A "Dance of the Gnomes," for piano, is also arranged for a
+sextet, the arrangement being a development, not a bare transcription.
+There are two mazurkas (op. 71), the first very original and happy.
+"AEolian Murmurings" is a superb study in high color. A "Caprice
+Espanol" is a bravura realization of Spanish frenzy. It has also been
+brilliantly orchestrated. Two songs without words make up opus 96:
+while "Meditation" shows too evident meditation on Wagner, "A Love
+Song" gets quite away from musical bourgeoisery. It is free, spirited,
+even daring. It is patently less devoted to theme-development than to
+the expression of an emotion. This "Love Song" is one of the very best
+of American morceaux, and is altogether commendable.
+
+Opus 107 includes three "characteristic pieces." "The Zephyr" is
+dangerously like Chopin's fifteenth Prelude, with a throbbing
+organ-point on the same A flat. On this alien foundation, however,
+Bartlett has built with rich harmony. The "Harlequin" is graceful and
+cheery. It ends with Rubinstein's sign and seal, an arpeggio in
+sixths, which is as trite a musical finis as fiction's "They lived
+happily ever afterward, surrounded by a large circle of admiring
+friends."
+
+Three mazurkas constitute opus 125. They are closely modelled on
+Chopin, and naturally lack the first-handedness of these works, in
+which, almost alone, the Pole was witty. But Bartlett has made as
+original an imitation as possible. The second is particularly
+charming.
+
+In manuscript is a Prelude developed interestingly on well-understood
+lines. There is a superb "Reverie Poetique." It is that climax of
+success, a scholarly inspiration. To the meagre body of American
+scherzos, Bartlett's scherzo will be very welcome. It is very festive
+and very original. Its richly harmonized interlude shows a complete
+emancipation from the overpowering influence of Chopin, and a great
+gain in strength as well as individuality.
+
+In his songs Bartlett attains a quality uniformly higher than that of
+his piano pieces. "Moonbeams" has many delicacies of harmony.
+"Laughing Eyes" is a fitting setting of Mr. "Nym Crinkle" Wheeler's
+exquisite lyric. "Come to Me, Dearest," while cheap in general design,
+has fine details.
+
+It makes me great dole to have to praise a song about a brooklet; but
+the truth is, that Bartlett's "I Hear the Brooklet's Murmur" is
+superbly beautiful, wild with regret,--a noble song. It represents the
+late German type of _Lied_, as the earlier heavy style is exemplified
+in "Good Night, Dear One." Very Teutonic also is the airiness and
+grace of "Rosebud."
+
+To that delightful collection of children's songs, "The St. Nicholas
+Song Book," Bartlett contributed largely. All of his lyrics are
+delicious, and "I Had a Little Pony" should become a nursery classic.
+
+In his "Lord God, Hear My Prayer," Bartlett throws down the gauntlet
+to the Bach-Gounod "Ave Maria," with results rather disastrous. He
+chooses a Cramer etude, and adds to it parts for voice, violin, and
+organ. While Gounod seems passionate and unrestrained, Bartlett shows
+his caution and his cage at every step. A Cramer etude is among the
+most melancholy things of earth anyway. "Jehovah Nissi" is an
+excellent sacred march chorus that won a prize, and there is a
+cantata, "The Last Chieftain." Bartlett's cantata is without efforts
+at Indian color, but is a solid work with much dignity, barbaric
+severity, and fire.
+
+Bartlett was born at Olive, N.Y., December 28, 1846. His ancestry
+runs far back into New England, his mother being a descendant of John
+Rogers, the martyr. Bartlett is said to have "lisped in numbers,"
+singing correctly before he could articulate words. The violin was his
+first love, and at the age of eight he was playing in public. He took
+up the piano and organ also, and in his fourteenth year was a church
+organist. He studied the piano with S.B. Mills, Emil Guyon (a pupil
+of Thalberg), and Alfred Pease. The organ and composition he studied
+with O.F. Jacobsen and Max Braun. With the exception of a musical
+pilgrimage in 1887, Bartlett has not come nearer the advantages of
+Europe than study here under men who studied there. He has resided for
+many years in New York as organist and teacher. As a composer he has
+been one of our most prolific music-makers. His work shows a steady
+development in value, and the best is doubtless yet to come.
+
+He finds a congenial field in the orchestra. Seidl played his
+instrumentation of Chopin's "Military Polonaise" several times. As the
+work seemed to need a finale in its larger form, Bartlett took a
+liberty whose success was its justification, and added a finish made
+up of the three principal themes interwoven. A recent work is his
+"Concertstueck," for violin and orchestra. It is not pianistic in
+instrumentation, and will appeal to violinists. While not marked with
+_recherches_ violin tricks, or violent attempts at bravura, it has
+both brilliance and solidity, and is delightfully colored in
+orchestration. There are no pauses between the movements, but they are
+well varied in their unity.
+
+There is an unfinished oratorio, "Samuel," an incomplete opera,
+"Hinotito," and a cantata of which only the tenor solo, "Khamsin," is
+done. This is by far the best work Bartlett has written, and displays
+unexpected dramatic powers. The variation of the episodes of the
+various phases of the awful drought to the climax in "The Plague,"
+make up a piece of most impressive strength. The orchestration is
+remarkably fine with effect, color, and variety. If the cantata is
+finished on this scale, its production will be a national event.
+
+The New England farmer is usually taken as a type of sturdy
+Philistinism in artistic matters. It was a most exceptional good
+fortune that gave C.B. Hawley a father who added to the dignity of
+being a tiller of the soil the refinements of great musical taste and
+skill. His house at Brookfield, Conn., contained not only a grand
+piano, but a pipe organ as well; and Hawley's mother was blessed with
+a beautiful and cultivated voice.
+
+At the age of thirteen (he was born St. Valentine's Day, 1858) Hawley
+was a church organist and the conductor of musical affairs in the
+Cheshire Military Academy, from which he graduated. He went to New
+York at the age of seventeen, studying the voice with George James
+Webb, Rivarde, Foederlein, and others, and composition with Dudley
+Buck, Joseph Mosenthal, and Rutenber.
+
+His voice brought him the position of soloist at the Calvary Episcopal
+Church, at the age of eighteen. Later he became assistant organist at
+St. Thomas' Episcopal Church, under George William Warren. For the
+last fourteen years he has had charge of the summer music at St. James
+Chapel, in Elberon, the chapel attended by Presidents Grant and
+Garfield. For seventeen years he has been one of the leading spirits
+of the Mendelssohn Glee Club, and for ten years a member of the
+Mendelssohn Quartet Club. Most of his part songs were written for the
+club and first sung at its concerts. He is also a successful teacher
+of the voice, and has been too busy to write a very large volume of
+compositions. But those published show the authentic fire.
+
+Notable features of Hawley's compositions are the taking quality of
+the melody, its warm sincerity, and the unobtrusive opulence in color
+of the accompaniment. This is less like an answering, independent
+voice than like a many-hued, velvety tapestry, backgrounding a
+beautiful statue. It is only on second thought and closer study that
+one sees how well concealed is the careful and laborious polish _ad
+unguem_ of every chord. This is the true art of song, where the lyrics
+should seem to gush spontaneously forth from a full heart and yet
+repay the closer dissection that shows the intellect perfecting the
+voice of emotion.
+
+Take, for example, his "Lady Mine," a brilliant rhapsody, full of the
+spring, and enriched with a wealth of color in the accompaniment till
+the melody is half hidden in a shower of roses. It required courage to
+make a setting of "Ah, 'Tis a Dream!" so famous through Lassen's
+melody; but Hawley has said it in his own way in an air thrilled with
+longing and an accompaniment as full of shifting colors as one of the
+native sunsets. I can't forbear one obiter dictum on this poem. It has
+never been so translated as to reproduce its neatest bit of fancy. In
+the original the poet speaks of meeting in dreams a fair-eyed maiden
+who greeted him "auf Deutsch" and kissed him "auf Deutsch," but the
+translations all evade the kiss in German.
+
+"The Ring," bounding with the glad frenzy of a betrothed lover, has a
+soaring finale, and is better endowed with a well polished
+accompaniment than the song, "Because I Love You, Dear," which is not
+without its good points in spite of its manifest appeal to a more
+popular taste. "My Little Love," "An Echo," "Spring's Awakening," and
+"Where Love Doth Build His Nest," are conceived in Hawley's own vein.
+
+The song, "Oh, Haste Thee, Sweet," has some moments of banality, but
+more of novelty; the harmonic work being unusual at times, especially
+in the rich garb of the words, "It groweth late." In "I Only Can Love
+Thee," Hawley has succeeded in conquering the incommensurateness of
+Mrs. Browning's sonnet by alternating 6-8 and 9-8 rhythms. His "Were I
+a Star," is quite a perfect lyric.
+
+Of his part songs, all are good, some are masterly. Here he colors
+with the same lavish but softly blending touch as in his solos. "My
+Luve's Like a Red, Red Rose" is altogether delightful, containing as
+it does a suggestion of the old formalities and courtly graces of the
+music of Lawes, whose songs Milton sonneted. I had always thought that
+no musician could do other than paint the lily in attempting to add
+music to the music of Tennyson's "Bugle Song," but Hawley has come
+dangerously near satisfaction in the elfland faintness and dying
+clearness of his voices.
+
+He has written two comic glees, one of which, "They Kissed! I Saw Them
+Do It," has put thousands of people into the keenest mirth. It is a
+vocal scherzo for men's voices. It begins with a criminally lugubrious
+and thin colloquy, in which the bass dolefully informs the others:
+"Beneath a shady tree they sat," to which the rest agree; "He held
+her hand, she held his hat," which meets with general consent. Now we
+are told in stealthy gasps, "I held my breath and lay right flat."
+Suddenly out of this thinness bursts a peal of richest harmony: "They
+kissed! I saw them do it." It is repeated more lusciously still, and
+then the basses and barytones mouth the gossip disapprovingly, and the
+poem continues with delicious raillery till it ends abruptly and
+archly: "And they thought no one knew it!"
+
+Besides these scherzos, Hawley has written a few religious part songs
+of a high order, particularly the noble "Trisagion and Sanctus," with
+its "Holy, Holy!" now hushed in reverential awe and now pealing in
+exultant worship. But of all his songs, I like best his "When Love is
+Gone," fraught with calm intensity, and closing in beauty as
+ineffable as a last glimmer of dying day.
+
+To the stencil-plate chivalry of the lyrics of the ubiquitous F.E.
+Weatherby and John Oxenford, the song-status of England can blame a
+deal of its stagnation. It is not often that these word-wringers have
+enticed American composers. One of the few victims is John Hyatt
+Brewer, who was born in Brooklyn, in 1856, and has lived there ever
+since.
+
+[Music: When Love is gone.
+
+(_Soprano, or Tenor._)
+
+C.B. HAWLEY.
+
+    The mind has a thousand eyes,
+    The heart but one;
+    Yet the light of a whole life dies
+    When love is gone, when love is gone.
+
+Copyright, 1894, by G. Schirmer.]
+
+Brewer made his debut as a six-year-old singer, and sang till his
+fourteenth year. A year later he was an organist in Brooklyn, where he
+has held various positions in the same capacity ever since,
+additionally busying himself as a teacher of voice, piano, organ, and
+harmony. His studies in piano and harmony were pursued under Rafael
+Navarro. Counterpoint, fugue, and composition he studied under Dudley
+Buck.
+
+In 1878 Brewer became the second tenor and accompanist of the Apollo
+Club, of which Mr. Buck is the director. He has conducted numerous
+vocal societies and an amateur orchestra.
+
+Of his cantatas, "Hesperus" is a work of the greatest promise and
+large performance.
+
+For male voices Brewer has written a cantata called "The Birth of
+Love." Its fiery ending is uncharacteristic, but the beautiful tenor
+solo and an excellent bass song prove his forte to lie in the realm
+of tenderness. Brewer's music has little fondness for climaxes, but in
+a tender pathos that is not tragedy, but a sort of lotos-eater's
+dreaminess and regret, he is congenially placed. Smoothness is one of
+his best qualities.
+
+Out of a number of part songs for men, one should mark a vigorous
+"Fisher's Song," a "May Song," which has an effective "barber's
+chord," and "The Katydid," a witty realization of Oliver Wendell
+Holmes' captivating poem. His "Sensible Serenade" has also an
+excellent flow of wit. Both these songs should please glee clubs and
+their audiences.
+
+For women's voices Brewer has written not a little. The best of these
+are "Sea Shine," which is particularly mellow, and "Treachery," a
+love-scherzo.
+
+For the violin there are two pieces: one, in the key of D, is a duet
+between the violin and the soprano voice of the piano. It is full of
+characteristic tenderness, full even of tears. It should find a good
+place among those violin ballads of which Raff's Cavatina is the
+best-known example. Another violin solo in A is more florid, but is
+well managed. The two show a natural aptitude for composition for this
+favorite of all instruments.
+
+For full orchestra there is a suite, "The Lady of the Lake," also
+arranged, for piano and organ. It is smooth and well-tinted. A sextet
+for strings and flute has been played with favor.
+
+Brewer's chief success lies along lines of least resistance, one might
+say. His Album of Songs (op. 27) is a case in point. Of the subtle and
+inevitable "Du bist wie eine Blume," he makes nothing, and "The
+Violet" forces an unfortunate contrast with Mozart's idyl to the same
+words. But "Meadow Sweet" is simply iridescent with cheer, a most
+unusually sweet song, and "The Heart's Rest" is of equal perfection.
+
+The best-abused composer in America is doubtless Reginald de Koven.
+His great popularity has attracted the search-light of minute
+criticism to him, and his accomplishments are such as do not well
+endure the fierce white light that beats upon the throne. The sin of
+over-vivid reminiscence is the one most persistently imputed to him,
+and not without cause. While I see no reason to accuse him of
+deliberate imitation, I think he is a little too loth to excise from
+his music those things of his that prove on consideration to have been
+said or sung before him. Instead of crying, "_Pereant qui ante nos
+nostra cantaverunt_," he believes in a live-and-let-live policy. But
+ah, if De Koven were the only composer whose eraser does not evict all
+that his memory installs!
+
+De Koven was born at Middletown, Conn., in 1859, and enjoyed unusual
+advantages for musical study abroad. At the age of eleven, he was
+taken to Europe, where he lived for twelve years. At Oxford he earned
+a degree with honors. His musical instructors include Speidel, Lebert,
+and Pruckner, at Stuttgart, Huff the contrapuntist at Frankfort, and
+Vannucini, who taught him singing, at Florence. He made also a
+special study of light opera under Genee and Von Suppe. He made
+Chicago his home in 1882, afterward moving to New York, where he
+served as a musical critic on one of the daily papers for many years.
+
+De Koven has been chief purveyor of comic opera to his generation, and
+for so ideal a work as "Robin Hood," and such pleasing constructions
+as parts of his other operas ("Don Quixote," "The Fencing Master,"
+"The Highwayman," for instance), one ought to be grateful, especially
+as his music has always a certain elegance and freedom from vulgarity.
+
+Of his ballads, "Oh, Promise Me" has a few opening notes that remind
+one of "Musica Proibita," but it was a taking lyric that stuck in the
+public heart. His setting of Eugene Field's "Little Boy Blue" is a
+work of purest pathos and directness. His version of "My Love is Like
+a Red, Red Rose" is among the best of its countless settings, and "The
+Fool of Pamperlune," the "Indian Love Song," "In June," and a few
+others, are excellent ballad-writing.
+
+Victor Harris is one of the few that selected New York for a
+birthplace. He was born here April 27, 1869, and attended the College
+of the City of New York, class of 1888. For several of his early years
+he was well known as a boy-soprano, whence he graduated into what he
+calls the "usual career" of organist, pianist, and teacher of the
+voice. In 1895 and 1896 he acted as the assistant conductor to Anton
+Seidl in the Brighton Beach summer concerts. He learned harmony of
+Frederick Schilling.
+
+Harris is most widely known as an accompanist, and is one of the best
+in the country. But while the accompaniments he writes to his own
+songs are carefully polished and well colored, they lack the show of
+independence that one might expect from so unusual a master of their
+execution.
+
+Except for an unpublished one-act operetta, "Mlle. Maie et M. de
+Sembre," and a few piano pieces, Harris has confined himself to the
+writing of short songs. In his twenty-first year two of unequal merits
+were published, "The Fountains Mingle with the River" being a taking
+melody, but without distinction or originality, while "Sweetheart" has
+much more freedom from conventionality and inevitableness.
+
+[Music: To N.N.H.
+
+Song from Omar Khayyam.
+
+VICTOR HARRIS, Op. 16, No. 3.
+
+    Oh! threats of Hell and hopes of Paradise!
+    One thing at least is certain--
+    _This_ Life flies,
+    One thing is certain, and the rest is Lies!
+    The Flower that once has blown for ever, for ever dies.
+
+Copyright, 1898, by Edward Schuberth & Co.]
+
+A later song, "My Guest," shows an increase in elaboration, but
+follows the florid school of Harrison Millard's once so popular
+rhapsody, "Waiting." Five songs are grouped into opus 12, and they
+reach a much higher finish and a better tendency to make excursions
+into other keys. They also show two of Harris' mannerisms, a constant
+repetition of verbal phrases and a fondness for writing close,
+unbroken chords, in triplets or quartoles. "A Melody" is beautiful;
+"Butterflies and Buttercups" is the perfection of grace; "I Know not
+if Moonlight or Starlight" is a fine rapture, and "A Disappointment"
+is a dire tragedy, all about some young toadstools that thought they
+were going to be mushrooms. For postlude two measures from the
+cantabile of Chopin's "Funeral March" are used with droll effect.
+"Love, Hallo!" is a headlong springtime passion. Two of his latest
+songs are "Forever and a Day," with many original touches, and a
+"Song from Omar Khayyam," which is made of some of the most cynical of
+the tent-maker's quatrains. Harris has given them all their power and
+bitterness till the last line, "The flower that once has blown forever
+dies," which is written with rare beauty. "A Night-song" is possibly
+his best work; it is full of colors, originalities, and lyric
+qualities. Opus 13 contains six songs: "Music when Soft Voices Die"
+has many uncommon and effective intervals; "The Flower of Oblivion" is
+more dramatic than usual, employs discords boldly, and gives the
+accompaniment more individuality than before; "A Song of Four
+Seasons" is a delicious morsel of gaiety, and "Love within the Lover's
+Breast" is a superb song. Harris has written some choric works for men
+and women also. They show commendable attention to all the voice
+parts.
+
+One of the most prominent figures in American musical history has been
+Dr. William Mason. He was born in Boston, January 24, 1829, and was
+the son of Lowell Mason, that pioneer in American composition. Dr.
+William Mason studied in Boston, and in Germany under Moscheles,
+Hauptmann, Richter, and Liszt. His success in concerts abroad and here
+gave prestige to his philosophy of technic, and his books on method
+have taken the very highest rank.
+
+His pedagogical attainments have overshadowed his composition, but he
+has written some excellent music. As he has been an educational force
+in classical music, so his compositions show the severe pursuit of
+classic forms and ideas. His work is, therefore, rather ingenious than
+inspired, and intellectual rather than emotional. Yale made him Doctor
+of Music in 1872.
+
+Another composer whose studies in technic have left him only a little
+inclination for creation is Albert Ross Parsons, who was born at
+Sandusky, O., September 16, 1847. He studied in Buffalo, and in New
+York under Ritter. Then he went to Germany, where he had a remarkably
+thorough schooling under Moscheles, Reinecke, Richter, Paul, Taussig,
+Kullak, and others. Returning to this country, he has busied himself
+as organist, teacher, and an editor of musical works. What little
+music he has composed shows the fruit of his erudition in its
+correctness.
+
+Such men as Doctor Mason and Mr. Parsons, though they add little to
+the volume of composition,--a thing for which any one should be
+thanked on some considerations,--yet add great dignity to their
+profession in this country.
+
+Arthur, a younger brother of Ethelbert Nevin, shows many of the
+Nevinian traits of lyric energy and harmonic color in his songs. He
+was born at Sewickley, Pa., in 1871. Until he was eighteen he had
+neither interest nor knowledge in music. In 1891 he began a four
+years' course in Boston, going thence to Berlin, where his masters
+were Klindworth and Boise. A book of four graceful "May Sketches" has
+been published, "Pierrot's Guitar" being especially ingenious. There
+are two published songs, "Were I a Tone" and "In Dreams," both
+emotionally rich. In manuscript are a fine song, "Free as the Tossing
+Sea," and a well-devised trio.
+
+A successful writer of songs is C. Whitney Coombs. He was born in
+Maine, in 1864, and went abroad at the age of fourteen. He studied the
+piano with Speidel, and composition with Seiffritz, in Stuttgart, for
+five years, and pursued his studies later in Dresden under Draessecke,
+Janssen, and John. In 1887 he became organist at the American Church
+in that city, returning to America in 1891, since which time he has
+been an organist in New York.
+
+In 1891 his publication begins with "My Love," an excellent lilt on
+lines from the Arabian. Among his many songs a few should be noted:
+the "Song of a Summer Night" is brilliant and poetic, and "Alone" is
+marked by some beautiful contramelodic effects; his "Indian Serenade"
+is a gracious work.
+
+J. Remington Fairlamb has been a prolific composer. He was born at
+Philadelphia, and at fourteen was a church organist. He studied at the
+Paris Conservatoire and in Italy; was appointed consul at Zurich by
+President Lincoln, and while in Stuttgart was decorated by the King of
+Wurtemburg with the "Great Gold Medal of Art and Science" for a Te
+Deum for double chorus and orchestra. Of Fairlamb's compositions, some
+two hundred have been published, including much sacred music and parts
+of two operas. A grand opera, "Leonello," in five acts, and a mass are
+in manuscript.
+
+Frank Seymour Hastings has found in music a pleasant avocation from
+finance, and written various graceful songs. He has been active, too,
+in the effort to secure a proper production of grand opera in English.
+
+Dr. John M. Loretz, of Brooklyn, is a veteran composer, and has passed
+his opus 200. He has written much sacred music and several comic
+operas.
+
+A prominent figure in New York music, though only an occasional
+composer, is Louis Raphael Dressler, one of the six charter members of
+the Manuscript Society, and long its treasurer. His father was William
+Dressler, one of the leading musicians of the earlier New York, where
+Mr. Dressler was born, in 1861. Dressier studied with his father, and
+inherited his ability as a professional accompanist and conductor. He
+was the first to produce amateur performances of opera in New York.
+His songs are marked with sincerity and spontaneity.
+
+Richard Henry Warren has been the organist at St. Bartholomew's since
+1886, and the composer of much religious music in which both skill and
+feeling are present. Among his more important works are two complete
+services, a scene for barytone solo, male chorus, and orchestra,
+called "Ticonderoga," and a powerful Christmas anthem. Warren has
+written also various operettas, in which he shows a particular grasp
+of instrumentation, and an ability to give new turns of expression to
+his songs, while keeping them smooth and singable. An unpublished
+short song of his, "When the Birds Go North," is a remarkably
+beautiful work, showing an aptitude that should be more cultivated.
+
+Warren was born at Albany, September 17, 1859. He is a son and pupil
+of George W. Warren, the distinguished organist. He went to Europe in
+1880, and again in 1886, for study and observation. He was the
+organizer and conductor of the Church Choral Society, which gave
+various important religious works their first production in New York,
+and, in some cases, their first hearing in America, notably, Dvorak's
+Requiem Mass, Gounod's "Mors et Vita," Liszt's Thirteenth Psalm,
+Saint-Saens' "The Heavens Declare," Villiers Stanford's "God is Our
+Hope and Strength," and Mackenzie's "Veni, Creator Spiritus." Horatio
+Parker's "Hora Novissima" was composed for this society, and
+Chadwick's "Phoenix Expirans" given its first New York performance.
+
+A prominent organist and teacher is Smith N. Penfield, who has also
+found time for the composition of numerous scholarly works, notably,
+an overture for full orchestra, an orchestral setting of the
+eighteenth psalm, a string quartette, and many pieces for the organ,
+voice, and piano. His tuition has been remarkably thorough. Born in
+Oberlin, Ohio, April 4, 1837, he studied the piano in Germany with
+Moscheles, Papperitz, and Reinecke, the organ with Richter,
+composition, counterpoint, and fugue with Reinecke and Hauptmann. He
+had also a period of study in Paris.
+
+Another organist of distinction is Frank Taft, who is also a conductor
+and a composer. His most important work is a "Marche Symphonique,"
+which was performed by the Boston Symphony Orchestra. He was born in
+East Bloomfield, New York, and had his education entirely in this
+country, studying the organ with Clarence Eddy, and theory with
+Frederic Grant Gleason.
+
+A young composer of many graceful songs is Charles Fonteyn Manney, who
+was born in Brooklyn in 1872, and studied theory with William Arms
+Fisher in New York, and later with J. Wallace Goodrich at Boston. His
+most original song is "Orpheus with His Lute," which reproduces the
+quaint and fascinating gaucheries of the text with singular charm. He
+has also set various songs of Heine's to music, and a short cantata
+for Easter, "The Resurrection."
+
+An ability that is strongly individual is that of Arthur Farwell,
+whose first teacher in theory was Homer A. Norris, and who later
+studied under Humperdinck in Germany. Among his works are an elaborate
+ballade for piano and violin, a setting of Shelley's "Indian
+Serenade," and four folk-songs to words by Johanna Ambrosius, the
+peasant genius of Germany. Among others of his published songs is
+"Strow Poppy Buds," a strikingly original composition.
+
+A writer of numerous elegant trifles and of a serious symphony is
+Harry Patterson Hopkins, who was born in Baltimore, and graduated at
+the Peabody Institute in 1896, receiving the diploma for distinguished
+musicianship. The same year he went to Bohemia, and studied with
+Dvorak. He returned to America to assist in the production of one of
+his compositions by Anton Seidl.
+
+Very thorough was the foreign training of Carl V. Lachmund, whose
+"Japanese Overture" has been produced under the direction of Thomas
+and Seidl, in the former case at a concert of that society at which
+many important native works have had their only hearing, the Music
+Teachers' National Association. Lachmund was born at Booneville, Mo.,
+in 1854. At the age of thirteen he began his tuition at Cologne, under
+Heller, Jensen, and Seiss; later he went to Berlin to study with the
+Scharwenkas, Kiel, and Moskowski. He had also four years of Liszt's
+training at Weimar. A trio for harp, violin, and 'cello was played by
+the Berlin Philharmonic Orchestra, and a concert prelude for the piano
+was much played in concerts in Germany. Before returning to America,
+Lachmund was for a time connected with the opera at Cologne.
+
+
+_The Boston Colony._
+
+To the composer potentially a writer of grand operas, but barred out
+by the absolute lack of opening here, the dramatic ballad should offer
+an attractive form. Such works as Schubert's "Erl-King" show what can
+be done. Henry Holden Huss has made some interesting experiments, and
+Fred. Field Bullard has tried the field.
+
+[Illustration: FREDERICK FIELD BULLARD.]
+
+Bullard's setting of Tennyson's almost lurid melodrama in six stanzas,
+"The Sisters," has caught the bitter mixture of love and hate, and
+avoided claptrap climaxes most impressively.
+
+[Music: HYMN OF PAN.
+
+Words by
+PERCY BYSSHE SHELLEY.
+
+Music by
+FRED. FIELD BULLARD,
+Op. 17, No. 4.
+
+    From the forests and highlands I come, I come;
+    From the river-girt islands,
+    Where waves are dumb;
+    From the forests and highlands,
+    From the river-girt islands,
+    I come, I come, I come.
+    The wind in the reeds and the rushes,
+    The bees in the bells of thyme,
+    The birds in the myrtle bushes,
+    The....
+
+Copyright, 1894, by Miles & Thompson.
+
+A FRAGMENT.]
+
+"In the Greenwood" (op. 14) is graceful, and "A June Lullaby" has a
+charming accompaniment of humming rain. Bullard has set some of
+Shelley's lyrics for voice and harp or piano, in opus 17. "From Dreams
+of Thee" gets a delicious quaintness of accompaniment, while the "Hymn
+of Pan" shows a tremendous savagery and uncouthness, with strange and
+stubborn harmonies. Full of the same roborific virility are his
+settings to the songs of Richard Hovey's writing, "Here's a Health to
+Thee, Roberts," "Barney McGee," and the "Stein Song." These songs have
+an exuberance of the roistering spirit, along with a competence of
+musicianship that lifts them above any comparison with the average
+balladry. Similarly "The Sword of Ferrara," with its hidalgic pride,
+and "The Indifferent Mariner," and the drinking-song, "The Best of All
+Good Company," are all what Horace Greeley would have called "mighty
+interesting." Not long ago I would have wagered my head against a
+hand-saw, that no writer of this time could write a canon with
+spontaneity. But then I had not seen Bullard's three duets in canon
+form. He has chosen his words so happily and expressed them so easily,
+and with such arch raillery, that the duets are delicious. Of equal
+gaiety is "The Lass of Norwich Town," which, with its violin
+obbligato, won a prize in the _Musical Record_ competition of 1899.
+
+Bullard was born at Boston, in 1864. He studied chemistry at first,
+but the claims of music on his interest were too great, and in 1888 he
+went to Munich, where he studied with Josef Rheinberger. After four
+years of European life he returned to Boston, where he has taught
+harmony and counterpoint along rather original lines. He is a writer
+with ideas and resources that give promise of a large future. His
+scholarship has not led him away from individuality. He is especially
+likely to give unexpected turns of expression, little bits of
+programmism rather incompatible with the ballad form most of his songs
+take. The chief fault with his work is the prevailing dun-ness of his
+harmonies. They have not felt the impressionistic revolt from the old
+bituminous school. But in partial compensation for this bleakness is a
+fine ruggedness.
+
+Of his other published songs, "At Daybreak" shows a beautiful fervor
+of repression. "On the Way" is redeemed by a particularly stirring
+finish. In opus 8, "A Prayer" is begun in D minor and ended in D
+major, with a strong effect of sudden exaltation from gloom. "The
+Singer" begins also in sombre style with unusual and abrupt
+modulations, and ends in a bright major. "The Hermit" is likewise
+grim, but is broad and deep. It uses a hint of "Old Hundred" in the
+accompaniment.
+
+Opus 11 couples two dramatic ballads. In this form of condensed drama
+is a too-little occupied field of composition, and Bullard has written
+some part songs, of which "In the Merry Month of May," "Her Scuttle
+Hat," and "The Water Song" are worth mentioning. "O Stern Old Land" is
+a rather bathetic candidate for the national hymnship. But his "War
+Song of Gamelbar," for male voices, is really a masterwork.
+Harmonists insist on so much closer compliance with rules for
+smoothness in vocal compositions than in instrumental work, that the
+usual composer gives himself very little liberty here. Bullard,
+however, has found the right occasion for wild dissonances, and has
+dared to use them. The effect is one of terrific power. This, his
+"Song of Pan" and "The Sisters" give him a place apart from the rest
+of native song-writers.
+
+[Illustration: HOMER A. NORRIS.]
+
+With all reverence for German music, it has been too much inclined of
+late to domineer the rest of the world, especially America. A useful
+counter-influence is that of Homer A. Norris, who has stepped out of
+the crowd flying to Munich and neighboring places, and profited by
+Parisian harmonic methods.
+
+His book, "Practical Harmony," imparts a, to us, novel method of
+disarming the bugaboo of altered chords of many of its notorious
+terrors. He also attacks the pedantry of music "so constructed that it
+appeals to the eye rather than the ear,--paper-work," a most
+praiseworthy assault on what is possibly the heaviest incubus on
+inspiration. In a later work on "Counterpoint" he used for chapter
+headings Greek vases and other decorative designs, to stimulate the
+ideal of counterpoint as a unified complexity of graceful contours.
+
+Norris was born in Wayne, Me., and became an organist at an early
+age. His chief interest has been, however, in the theory of music, and
+he studied with G.W. Marston, F.W. Hale, and G.W. Chadwick, as well
+as Emery. In deciding upon foreign study he was inspired to choose
+France instead of Germany. This has given him a distinct place.
+
+After studying in Paris for four years under Dubois, Godard, Guilmant,
+and Gigout, he made his home in Boston, where he has since confined
+himself to the teaching of composition.
+
+As yet Mr. Norris has composed little, and that little is done on
+simple lines, but the simplicity is deep, and the harmonies, without
+being bizarre, are wonderfully mellow.
+
+His first song, "Rock-a-bye, Baby," he sold for twelve printed copies,
+and it is said to have had a larger sale than any cradle-song ever
+published in this country. His song, "Protestations," is tender, and
+has a violin obbligato that is really more important than the voice
+part. The song, "Parting," is wild with passion, and bases a superb
+melody on a fitting harmonic structure. I consider "Twilight" one of
+the best American songs. It gets some unusual effects with intervals
+of tenths and ninths, and shows a remarkable depth of emotion.
+
+In the larger forms he has done a concert overture, "Zoroaster"
+(which, judging from an outline, promises many striking effects), and
+a cantata, "Nain," which has the sin of over-repetition of words, but
+is otherwise marked with telling pathos and occasional outbursts of
+intensely dramatic feeling.
+
+Perhaps his most original work is seen in his book of "Four Songs for
+Mezzo-Voice." The first is Kipling's "O Mother Mine," with harshnesses
+followed by tenderest musings; the second is a noble song, "Peace,"
+with an accompaniment consisting entirely of the slowly descending
+scale of C major; a high-colored lilt, "The World and a Day," is
+followed by a Maeterlinckian recitative of the most melting pathos.
+This book is another substantiation of my belief that America is
+writing the best of the songs of to-day.
+
+One of the best-esteemed musicians in Boston, G.E. Whiting has
+devoted more of his interest to his career as virtuoso on the organ
+than to composition. Not many of such works as he has found time to
+write have been printed. These include an organ sonata, a number of
+organ pieces, a book of studies for the organ, six songs, and three
+cantatas for solos, chorus, and orchestra, "A Tale of the Viking,"
+"Dream Pictures," and "A Midnight Cantata."
+
+Whiting was born at Holliston, Mass., September 14, 1842. At the age
+of five, he began the study of music with his brother. At the age of
+fifteen, he moved to Hartford, Conn., where he succeeded Dudley Buck
+as organist of one of the churches. Here he founded the Beethoven
+Society. At the age of twenty he went to Boston, and after studying
+with Morgan, went to Liverpool, and studied the organ under William
+Thomas Best. Later he made a second pilgrimage to Europe, and studied
+under Radeck.
+
+For many years he has lived in Boston as a teacher of music and
+performer upon the organ. In manuscript are a number of works which I
+have not had the privilege of seeing: two masses for chorus,
+orchestra, and organ, a concert overture, a concerto, a sonata, a
+fantasy and fugue, a fantasy and three etudes, a suite for 'cello and
+piano, and a setting of Longfellow's "Golden Legend," which won two
+votes out of five in the thousand dollar musical festival of 1897, the
+prize being awarded to Dudley Buck.
+
+[Music: Peace.
+
+EDWARD ROWLAND SILL.
+
+HOMER A. NORRIS.
+
+    'Tis not in seeking,
+    'Tis not in endless striving,
+    Thy quest is found:
+    Thy quest is found.
+    Be still and listen;
+    Be still and drink the quiet of all around
+    Not for thy crying,
+    Not for thy loud beseeching,
+    Will peace draw near:
+    Will peace draw near:
+    Rest with palms folded,
+    Rest with thine eyelids fallen
+    Lo! peace is here.
+
+Copyright, 1900, by H.B. Stevens Co. International copyright secured.
+
+Used by permission of H.B. Stevens Co., Boston, owners of the
+copyright.]
+
+Of his compositions H.E. Krehbiel in 1892 recorded the opinion that
+they "entitled him to a position among the foremost musicians in this
+country." He is an uncle of Arthur Whiting.
+
+G.W. Marston's setting of the omnipresent "Du bist wie eine Blume" is
+really one of the very best Heine's poem has ever had. Possibly it is
+the best of all the American settings. His "There Was an Aged Monarch"
+is seriously deserving of the frankest comparison with Grieg's
+treatment of the same _Lied_. It is interesting to note the radical
+difference of their attitudes toward it. Grieg writes in a folk-tone
+that is severe to the point of grimness. He is right because it is
+_ein altes Liedchen_, and Heine's handling of it is also kept
+outwardly cold. But Marston has rendered the song into music of the
+richest harmony and fullest pathos. He is right, also, because he has
+interpreted the undercurrent of the story.
+
+Bodenstedt's ubiquitous lyric, "Wenn der Fruehling auf die Berge
+steigt," which rivals "Du bist wie eine Blume" in the favor of
+composers, has gathered Marston also into its net. He gives it a
+climax that fairly sweeps one off his feet, though one might wish that
+the following and final phrase had not forsaken the rich harmonies of
+the climax so completely.
+
+This song is the first of a "Song Album" for sopranos, published in
+1890. In this group the accompaniments all receive an attention that
+gives them meaning without obtrusiveness. "The Duet" is a delicious
+marriage of the song of a girl and the accompanying rapture of a bird.
+
+A captivating little florid figure in the accompaniment of a setting
+of "Im wunderschoenen Monat Mai" gives the song worth. "On the Water"
+is profound with sombreness and big simplicity. "The Boat of My Lover"
+is quaintly delightful.
+
+Marston was born in Massachusetts, at the little town of Sandwich, in
+1840. He studied there, and later at Portland, Me., with John W.
+Tufts, and has made two pilgrimages to Europe for instruction. He
+played the organ in his native town at the age of fifteen, and since
+finishing his studies has lived at Portland, teaching the piano,
+organ, and harmony. From the start his songs caught popularity, and
+were much sung in concert.
+
+Marston has written a sacred dramatic cantata, "David," and a large
+amount of church music that is very widely used. He has written also a
+set of quartettes and trios for women's voices, and quartettes for
+men's voices.
+
+Possibly his best-known song has been his "Could Ye Come Back to Me,
+Douglas," which Mrs. Craik called the best of all her poem's many
+settings.
+
+Only Marston's later piano pieces are really _klaviermaessig_. So fine
+a work as his "Gavotte in B Minor" has no need to consider the
+resources of the modern instrument. It has a color scheme of much
+originality, though it is marred by over-repetition. "A Night in
+Spain" is a dashing reminiscence, not without Spanish spirit, and an
+"Album Leaf" is a divertissement of contagious enthusiasm.
+
+[Illustration: Autograph of G.W. Marston]
+
+Ariel's songs, from "The Tempest," are given a piano interpretation
+that reaches a high plane. There is a storm prologue which suggests,
+in excellent harmonies, the distant mutter of the storm rather than a
+piano-gutting tornado. "Full Fathoms Five Thy Father Lies" is a
+reverie of wonderful depth and originality, with a delicious variation
+on the good old-fashioned cadence. Thence it works up into an
+immensely powerful close. A dance, "Foot it Featly," follows. It is
+sprightly, and contains a fetching cadenza.
+
+One of the most prolific writers of American song is Clayton Johns. He
+is almost always pleasing and polished. While he is not at all
+revolutionary, he has a certain individuality of ease, and lyric
+quality without storm or stress of passion. Thus his settings of seven
+"Wanderlieder" by Uhland have all the spirit of the road except
+ruggedness.
+
+His setting of "Du bist wie eine Blume" is extremely tender and sweet.
+
+Two of Johns' best successes have been settings of Egyptian subjects:
+"Were I a Prince Egyptian" and Arlo Bates' fine lyric, "No Lotus
+Flower on Ganges Borne." The latter is a superb song of unusual fire,
+with a strong effect at the end, the voice ceasing at a deceptive
+cadence, while the accompaniment sweeps on to its destiny in the
+original key. He has also found a congenial subject in Austin Dobson's
+"The Rose and the Gardener." He gets for a moment far from its florid
+grace in "I Looked within My Soul," which has an unwonted bigness, and
+is a genuine _Lied_.
+
+In later years Johns' songs have been brought out in little albums,
+very artistically got up, especially for music (which has been
+heinously printed, as a rule, in this country). These albums include
+three skilfully written "English Songs," and three "French Songs,"
+"Soupir" taking the form of melodic recitative. Opus 19 is a group of
+"Wonder Songs," which interpret Oliver Herford's quaint conceits
+capitally.
+
+Opus 26 collects nine songs, of which "Princess Pretty Eyes" is
+fascinatingly archaic. It is good to see him setting two such remotely
+kindred spirits as Herrick and Emily Dickinson. The latter has hardly
+been discovered by composers, and the former is too much neglected.
+
+Johns has also written a few part songs and some instrumental works,
+which maintain his characteristics. A delightful "Canzone," a happy
+"Promenade," and "Mazurka" are to be mentioned, and a number of pieces
+for violin and piano, among them a finely built intermezzo, a
+berceuse, a romanza that should be highly effective, and a witty
+scherzino. He has written for strings a berceuse and a scherzino,
+which have been played by the Boston Symphony Orchestra, and certain
+part songs, as well as a chorus for female voices and string
+orchestra, have been sung in London.
+
+Johns was born at New Castle, Del., November 24, 1857, of American
+parents. Though at first a student of architecture, he gave this up
+for music, and studied at Boston under Wm. F. Apthorp, J.K. Paine,
+and W.H. Sherwood, after which he went to Berlin, where he studied
+under Kiel, Grabau, Raif, and Franz Rummel. In 1884 he made Boston his
+home.
+
+If San Francisco had found some way of retaining the composers she has
+produced, she would have a very respectable colony. Among the others
+who have come east to grow up with music is William Arms Fisher, who
+was born in San Francisco, April 27, 1861. The two composers from whom
+he derives his name, Joshua Fisher and William Arms, settled in
+Massachusetts colony in the seventeenth century. He studied harmony,
+organ, and piano with John P. Morgan. After devoting some years to
+business, he committed his life to music, and in 1890 came to New
+York, where he studied singing. Later he went to London to continue
+his vocal studies. Returning to New York, he took up counterpoint and
+fugue with Horatio W. Parker, and composition and instrumentation with
+Dvorak. After teaching harmony for several years, he went to Boston,
+where he now lives. His work has been almost altogether the
+composition of songs. A notable feature of his numerous publications
+is their agreeable diversion from the usual practice of composers,
+which is to write lyrics of wide range and high pitch. Nearly all his
+songs are written for the average voice.
+
+His first opus contains a setting of "Nur wer die Sehnsucht kennt,"
+which I like better than the banal version Tschaikowski made of the
+same words. The third opus contains three songs to Shelley's words.
+They show something of the intellectual emotion of the poet. The first
+work, "A Widow Bird Sate Mourning," is hardly lyrical; "My Coursers
+Are Fed with the Lightning" is a stout piece of writing, but the
+inspired highfalutin of the words would be trying upon one who arose
+to sing the song before an audience. This, by the way, is a point
+rarely considered by the unsuccessful composers, and the words which
+the singer is expected to declare to an ordinary audience are
+sometimes astounding. The third Shelley setting, "The World's
+Wanderer," is more congenial to song.
+
+Opus 5 is entitled "Songs without Tears." These are for a bass voice,
+and by all odds the best of his songs. An appropriate setting is
+Edmund Clarence Stedman's "Falstaff's Song," a noteworthy lyric of
+toss-pot moralization on death. His song of "Joy" is exuberant with
+spring gaiety, and some of his best manner is seen in his "Elegie,"
+for violin and piano. He has also written a deal of church song.
+
+A venerable and distinguished teacher and composer is James C.D.
+Parker, who was born at Boston, in 1828, and graduated from Harvard in
+1848. He at first studied law, but was soon turned to music, and
+studied for three years in Europe under Richter, Plaidy, Hauptmann,
+Moscheles, Rietz, and Becker. He graduated from the conservatory at
+Leipzig, and returned to Boston in 1845.
+
+His "Redemption Hymn" is one of his most important works, and was
+produced in Boston by the Haendel and Haydn Society in 1877. He also
+composed other works for orchestra and chorus, and many brilliant
+piano compositions.
+
+An interesting method of writing duets is that employed in the
+"Children's Festival," by Charles Dennee. The pupil plays in some
+places the primo, and in others the secondo, his part being written
+very simply, while the part to be played by the teacher is written
+with considerable elaboration, so that the general effect is not so
+narcotic as usual with duets for children. Dennee has written, among
+many works of little specific gravity, a "Suite Moderne" of much
+skill, a suite for string orchestra, an overture and sonatas for the
+piano and for the violin and piano, as well as various comic operas.
+He was born in Oswego, N.Y., September 1, 1863, and studied
+composition with Stephen A. Emery.
+
+A composer of a genial gaiety, one who has written a good minuet and
+an "Evening Song" that is not morose, is Benjamin Lincoln Whelpley,
+who was born at Eastport, Me., October 23, 1863, and studied the piano
+at Boston with B.J. Lang, and composition with Sidney Homer and
+others. He also studied in Paris for a time in 1890. He has written a
+"Dance of the Gnomes," that is characteristic and brilliantly droll,
+and a piano piece, called "Under Bright Skies," which has the panoply
+and progress of a sunlit cavalcade.
+
+Ernest Osgood Hiler has written some good music for the violin, a
+book of songs for children, "Cloud, Field, and Flower," and some
+sacred music. He studied in Germany for two years.
+
+
+_The Chicago Colony._
+
+Most prominent among Chicago's composers is doubtless Frederic Grant
+Gleason, who has written in the large forms with distinguished
+success. The Thomas Orchestra has performed a number of his works,
+which is an excellent praise, because Thomas, who has done so much for
+American audiences, has worried himself little about the American
+composer. At the World's Fair, which was, in some ways, the artistic
+birthday of Chicago, and possibly the most important artistic event in
+our national history, some of Gleason's works were performed by
+Thomas' organization, among them the _Vorspiel_ to an opera, "Otho
+Visconti" (op. 7), for which Gleason wrote both words and music.
+
+[Illustration: FREDERIC GRANT GLEASON.]
+
+This _Vorspiel_, like that to "Lohengrin," is short and delicate. It
+begins ravishingly with flutes and clarinets and four violins,
+pianissimo, followed by a blare of brass. After this introductory
+period the work runs through tenderly contemplative musing to the end,
+in which, again, the only strings are the four violins, though here
+they are accompanied by the brass and wood-winds and tympani, the
+cymbals being gently tapped with drumsticks. The introduction to the
+third act of the opera is more lyrical, but not so fine. Another opera
+is "Montezuma" (op. 16). Gleason is again his own librettist. Of this
+opera I have been privileged to see the complete piano score, and
+much of the orchestral.
+
+[Music: Montezuma, Act III, Introduction
+
+Frederic Grant Gleason
+
+EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.]
+
+In the first act Guatemozin, who has been exiled by Montezuma, appears
+disguised as an ancient minstrel and sings prophetically of the coming
+of a god of peace and love to supplant the terrible idol that demands
+human sacrifice. This superbly written aria provokes from the
+terrified idolaters a chorus of fear and reproach that is strongly
+effective. The next act begins with an elaborate aria followed by a
+love duet of much beauty. A heavily scored priests' march is one of
+the chief numbers, and like most marches written by the unco'
+learned, it is a grain of martial melody in a bushel of trumpet
+figures and preparation. The Wagnerian _leit-motif_ idea is adopted in
+this and other works of his, and the chief objection to his writing is
+its too great fidelity to the Wagnerian manner,--notably in the use of
+suspensions and passing-notes,--otherwise he is a very powerful
+harmonist and an instrumenter of rare sophistication. A soprano aria
+with orchestral accompaniment has been taken from the opera and sung
+in concert with strong effect.
+
+Another work played at the World's Fair by Thomas, is a "Processional
+of the Holy Grail." It is scored elaborately, but is rather brilliant
+than large. It complimentarily introduces a hint or two of Wagner's
+Grail motif.
+
+The symphonic poem, "Edris," was also performed by the Thomas
+Orchestra. It is based upon Marie Corelli's novel, "Ardath," which
+gives opportunity for much programmism, but of a mystical highly
+colored sort for which music is especially competent. It makes use of
+a number of remarkably beautiful motives. One effect much commented
+upon was a succession of fifths in the bass, used legitimately enough
+to express a dreariness of earth.
+
+This provoked from that conservative of conservatives, the music
+copyist, a patronizing annotation, "Quinten!" to which Gleason added
+"Gewiss!" A series of augmented triads, smoothly manipulated, was
+another curiosity of the score.
+
+Possibly Gleason's happiest work is his exquisite music for that most
+exquisite of American poems, "The Culprit Fay." It is described in
+detail in Upton's "Standard Cantatas," and liberally quoted from in
+Goodrich' "Musical Analysis." While I have seen both the piano and
+orchestral scores of this work (op. 15), and have seen much beauty in
+them, my space compels me to refer the curious reader to either of
+these most recommendable books.
+
+Gleason has had an unusual schooling. He was born in Middletown,
+Conn., in 1848. His parents were musical, and when at sixteen he wrote
+a small matter of two oratorios without previous instruction, they put
+him to study under Dudley Buck. From his tuition he graduated to
+Germany, and to such teachers as Moscheles, Richter, Plaidy, Lobe,
+Raif, Taussig, and Weitzmann. He studied in England after that, and
+returned again to Germany. When he re-appeared in America he remained
+a while at Hartford, Conn., whence he went to Chicago in 1876. He has
+lived there since, working at teaching and composition, and acting as
+musical critic of the Chicago _Tribune_. An unusually gifted body of
+critics, dramatic, musical, and literary, has worked upon the Chicago
+newspapers, and Gleason has been prominent among them.
+
+Among other important compositions of his are a symphonic cantata,
+"The Auditorium Festival Ode," sung at the dedication of the Chicago
+Auditorium by a chorus of five hundred; sketches for orchestra, a
+piano concerto, organ music, and songs.
+
+As is shown by the two or three vocal works of his that I have seen,
+Gleason is less successful as a melodist than as a harmonist. But in
+this latter capacity he is gifted indeed, and is peculiarly fitted to
+furnish forth with music Ebling's "Lobgesang auf die Harmonie." In his
+setting of this poem he has used a soprano and a barytone solo with male
+chorus and orchestra. The harmonic structure throughout is superb in all
+the various virtues ascribed to harmony. The ending is magnificent.
+
+[Illustration: WILLIAM H. SHERWOOD.]
+
+A work completed December, 1899, for production by the Thomas
+Orchestra, is a symphonic poem called "The Song of Life," with this
+motto from Swinburne:
+
+    "They have the night, who had, like us, the day;
+    We whom the day binds shall have night as they;
+    We, from the fetters of the light unbound,
+    Healed of our wound of living, shall sleep sound."
+
+The first prominent musician to give a certain portion of his program
+regularly to the American composer, was William H. Sherwood. This
+recognition from so distinguished a performer could not but interest
+many who had previously turned a deaf ear to all the musical efforts
+of the Eagle. In addition to playing their piano works, he has
+transcribed numerous of their orchestral works to the piano, and
+played them. In short, he has been so indefatigable a laborer for the
+cause of other American composers, that he has found little time to
+write his own ideas.
+
+Sherwood will be chiefly remembered as a pianist, but he has written a
+certain amount of music of an excellent quality. Opera 1-4 were
+published abroad. Opus 5 is a suite, the second number of which is an
+"Idylle" that deserves its name. It is as blissfully clear and ringing
+as anything could well be, and drips with a Theokritan honey. The
+third number of the suite is called "Greetings." It has only one or
+two unusual touches. Number 4 bears the suggestive title, "Regrets for
+the Pianoforte." It was possibly written after some of his less
+promising pupils had finished a lesson. The last number of the suite
+is a quaint Novelette.
+
+[Music: IDYLLE.
+
+WM. H. SHERWOOD, OP. 5, NO. 2.
+
+Copyright, 1883, by G. Schirmer.
+
+A FRAGMENT.]
+
+Sherwood's sixth opus is made up of a brace of mazurkas. The former,
+in C minor, contains some of his best work. It is original and moody,
+and ends strongly. The second, in A major, is still better. It not
+only keeps up a high standard throughout, but shows occasional touches
+of the most fascinating art.
+
+A scherzo (op. 7) cracks a few good jokes, but is mostly elaboration.
+Opus 8 is a fiery romanza appassionata. Opus 9 is a Scherzo-Caprice.
+This is probably his best work. It is dedicated to Liszt, and though
+extremely brilliant, is full of meaning. It has an interlude of tender
+romance. "Coy Maiden" is a graceful thing, but hardly deserves the
+punishment of so horrible a name. "A Gypsy Dance" is too long, but it
+is of good material. It has an interesting metre, three-quarter time
+with the first note dotted. There is a good effect gained by
+sustaining certain notes over several measures, though few pianists
+get a real sostenuto. An "Allegro Patetico" (op. 12), "Medea" (op.
+13), and a set of small pieces (one of them a burlesque called "A
+Caudle Lecture," with a garrulous "said she" and a somnolent "said
+he") make up his rather short list of compositions.
+
+Sherwood was born at Lyons, New York, of good American stock. His
+father was his teacher until the age of seventeen, when he studied
+with Heimberger, Pychowski, and Dr. William Mason. He studied in
+Europe with Kullak and Deppe, Scotson Clark, Weitzmann, Doppler,
+Wuerst, and Richter. He was for a time organist in Stuttgart and later
+in Berlin. He was one of those favorite pupils of Liszt, and played in
+concerts abroad with remarkable success, winning at the age of
+eighteen high critical enthusiasm. He has been more cordially
+recognized abroad than here, but is assuredly one of the greatest
+living pianists. It is fortunate that his patriotism keeps him at
+home, where he is needed in the constant battle against the
+indecencies of apathy and Philistinism.
+
+The Yankee spirit of constructive irreverence extends to music, and in
+recent years a number of unusually modern-minded theorists have worked
+at the very foundations: Dr. Percy Goetschius (born here, and for long
+a teacher at Stuttgart); O.B. Boise (born here, and teaching now in
+Berlin); Edwin Bruce, the author of a very radical work; Homer A.
+Norris; and last, and first, A.J. Goodrich, who has made himself one
+of the most advanced of living writers on the theory of music, and has
+made so large a contribution to the solidity of our attainments, that
+he is recognized among scholars abroad as one of the leading spirits
+of his time. His success is the more pleasing since he was not only
+born but educated in this country.
+
+[Illustration: A.J. GOODRICH.]
+
+The town of Chilo, Ohio, was Goodrich' birthplace. He was born there
+in 1847, of American parentage. His father taught him the rudiments of
+music and the piano for one year, after which he became his own
+teacher. He has had both a thorough and an independent instructor. The
+fact that he has been enabled to follow his own conscience without
+danger of being convinced into error by the prestige of some
+influential master, is doubtless to be credited with much of the
+novelty and courage of his work.
+
+His most important book is undoubtedly his "Analytical Harmony,"
+though his "Musical Analysis" and other works are serious and
+important. This is not the place to discuss his technicalities, but
+one must mention the real bravery it took to discard the old practice
+of a figured bass, and to attack many of the theoretical fetiches
+without hesitation. Almost all of the old theorists have confessed,
+usually in a foot-note to the preface or in modest disclaimer lost
+somewhere in the book, that the great masters would occasionally be
+found violating certain of their rules. But this did not lead them to
+deducing their rules from the great masters. Goodrich, however, has,
+in this matter, begun where Marx ended, and has gone further even than
+Prout. He has gone to melody as the groundwork of his harmonic system,
+and to the practice of great masters, old and new, for the tests of
+all his theories. The result is a book which can be unreservedly
+commended for self-instruction to the ignorant and to the too learned.
+It is to be followed by a book on "Synthetic Counterpoint," of which
+Goodrich says, "It is almost totally at variance with the standard
+books in counterpoint."
+
+In his "Musical Analysis" he quoted freely from American composers,
+and analyzed many important native works. He has carried out this plan
+also in his book on "Interpretation," a work aiming to bring more
+definiteness into the fields of performance and terminology.
+
+Goodrich' composition is "a thing of the past," he says. In his youth
+he wrote a score or more of fugues, two string quartettes, a trio that
+was played in New York and Chicago, a sonata, two concert overtures, a
+hymn for soprano (in English), invisible chorus (in Latin), and
+orchestra, a volume of songs, and numerous piano pieces. He writes:
+"In truth, I believed at one time that I was a real composer, but
+after listening to Tschaikowski's Fifth Symphony that illusion was
+dispelled. Had not Mrs. Goodrich rescued from the flames a few MSS. I
+would have destroyed every note."
+
+Only a piano suite is left, and this leads one to regret that
+Tschaikowski should have served as a deterrent instead of an
+inspiration. The suite has an inelaborate prelude, which begins
+strongly and ends gracefully, showing unusual handling throughout. A
+minuet, taken scherzando, is also most original and happy. There is a
+quaint sarabande, and a gavotte written on simple lines, but superbly.
+Its musette is simply captivating. All these little pieces indeed show
+sterling originality and unusual resources in a small compass.
+
+W.H. Neidlinger's first three songs were kept in his desk for a year
+and then kept by a publisher for a year longer, and finally brought
+out in 1889. To his great surprise, the "Serenade," which he calls
+"just a little bit of commonplace melody," had an immense sale and
+created a demand for more of his work. The absolute simplicity of this
+exquisite gem is misleading. It is not cheap in its lack of ornament,
+but it eminently deserves that high-praising epithet (so pitilessly
+abused), "chaste." It has the daintiness and minute completeness of a
+Tanagra figurine.
+
+Mr. Neidlinger was born in Brooklyn, N.Y., in 1863, and was compelled
+to earn the money for his own education and for his musical studies.
+From Dudley Buck and, later, C.C. Muller, of New York, he has had his
+only musical instruction. He lived abroad for some time, teaching the
+voice in Paris, then returned to live in Chicago. He has written two
+operas, one of them having been produced by the Bostonians.
+
+Mr. Neidlinger builds his songs upon one guiding principle, that is,
+faithfulness to elocutionary accent and intonation. As he neatly
+phrases it, his songs are "colored sketches on a poet's engravings."
+
+The usual simplicity of Mr. Neidlinger's songs does not forbid a
+dramatic outburst at the proper time, as in the fine mood, "A Leaf;"
+or the sombre depth of "Night," "Nocturne," and "Solitude;" or yet the
+sustainedly poignant anguish of "The Pine-tree." Occasionally the
+accompaniment is developed with elaborateness, as in the bird-flutings
+of "The Robin," and "Memories," an extremely rich work, with its
+mellow brook-music and a hint of nightingale complaint in the minor.
+"Evening Song," a bit of inspired tenderness, is one of Mr.
+Neidlinger's best works. Almost better is "Sunshine," a streak of
+brilliant fire quenched with a sudden cloud at the end. Other valuable
+works are "Messages," the happy little Scotch song, "Laddie," and
+"Dreaming," which is now sombre, now fierce with outbursts of agony,
+but always a melody, always ariose.
+
+Mr. Neidlinger has made a special study of music for children, his
+book, "Small Songs for Small Children," being much used in
+kindergarten work. A book of his, devoted to a synthetic philosophy of
+song, is completed for publication; he calls it "Spenser, Darwin,
+Tyndall, etc., in sugar-coated pills; geography, electricity, and
+hundreds of other things in song."
+
+
+_The Cleveland Colony._
+
+The city of Cleveland contains a musical colony which is certainly
+more important than that of any town of its size. About the tenth of
+our cities in population, it is at least fourth, and possibly third,
+in productiveness in valuable composition.
+
+[Illustration: WILSON G. SMITH.]
+
+The most widely known of Cleveland composers is Wilson G. Smith. He
+has been especially fortunate in hitting the golden mean between
+forbidding abstruseness and trivial popularity, and consequently
+enjoys the esteem of those learned in music as well as of those merely
+happy in it.
+
+[Illustration: Autograph of Wilson G. Smith]
+
+His erudition has persuaded him to a large simplicity; his nature
+turns him to a musical optimism that gives many of his works a
+Mozartian cheer. Graciousness is his key.
+
+He was born in Elyria, O., and educated in the public schools of
+Cleveland, where he graduated. Prevented by delicate health from a
+college education, he has nevertheless, by wide reading, broadened
+himself into culture, and is an essayist of much skill. His musical
+education began in 1876, at Cincinnati, where his teacher, Otto
+Singer, encouraged him to make music his profession. In 1880 he was in
+Berlin, where he studied for several years under Kiel, Scharwenka,
+Moskowski, and Oscar Raif. He then returned to Cleveland, where he
+took up the teaching of organ, piano, voice, and composition.
+
+The most important of Smith's earlier works was a series of five
+pieces called "Hommage a Edvard Grieg," which brought warmest
+commendation from the Scandinavian master. One of the most striking
+characteristics of Smith's genius is his ability to catch the exact
+spirit of other composers. He has paid "homage" to Schumann, Chopin,
+Schubert, and Grieg, and in all he has achieved remarkable success,
+for he has done more than copy their little tricks of expression,
+oddities of manner, and pet weaknesses. He has caught the
+individuality and the spirit of each man.
+
+In his compositions in Grieg-ton Smith has seized the fascinating
+looseness of the Griegorian tonality and its whimsicality. The
+"Humoresque" is a bit of titanic merriment; the "Mazurka" is most
+deftly built and is full of dance-fire; the "Arietta" is highly
+original, and the "Capricietto" shows such ingenious management of
+triplets, and has altogether such a crisp, brisk flavor, that it
+reminds one of Lamb's rhapsody on roast pig, where he exclaims, "I
+tasted _crackling_!" The "Romance," superb in gloom and largeness of
+treatment, is worthy of the composer of "The Death of Asra." A later
+work, "Caprice Norwegienne," is also a strong brew of Scandinavian
+essence.
+
+A "Schumannesque" is written closely on the lines of Schumann's
+"Arabesque." A later "Hommage a Schumann" is equally faithful to
+another style of the master, and dashes forth with characteristic and
+un-naive gaiety and challenging thinness of harmony, occasionally
+bursting out into great rare chords, just to show what can be done
+when one tries.
+
+The man that could write both this work and the highly faithful
+"Hommage a Schubert," and then whirl forth the rich-colored, sensuous
+fall and purr of the "Hommage a Chopin," must be granted at least an
+unusual command over pianistic materials, and a most unusual acuteness
+of observation.
+
+He can write _a la_ Smith, too, and has a vein quite his own, even
+though he prefers to build his work on well-established lines, and fit
+his palette with colors well tempered and toned by the masters.
+
+In this line is opus 21, a group of four pieces called "Echoes of Ye
+Olden Time." The "Pastorale" is rather Smithian than olden, with its
+mellow harmony, but the "Minuetto" is the perfection of chivalric
+foppery and pompous gaiety. The "Gavotte" suggests the contagious good
+humor of Bach, and the "Minuetto Grazioso," the best of the series,
+has a touch of the goodly old intervals, tenths and sixths, that taste
+like a draught of spring water in the midst of our modern liqueurs.
+
+The musical world in convention assembled has covenanted that certain
+harmonies shall be set apart for pasturage. Just why these arbitrary
+pastorales should suggest meads and syrinxes, and dancing shepherds,
+it would be hard to tell. But this effect they certainly have, and a
+good pastorale is a better antidote for the blues and other civic ills
+than anything I know, except the actual green and blue of fields and
+skies. Among the best of the best pastoral music, I should place
+Smith's "Gavotte Pastorale." It is one of the five pieces in his book
+of "Romantic Studies" (op. 57).
+
+This same volume contains a "Scherzo alla Tarantella," which is full
+of reckless wit. But the _abandon_ is so happy as to seem misplaced in
+a tarantella, that dance whose traditional origin is the maniacal
+frenzy produced by the bite of the tarantula. An earlier Tarantella
+(op. 34) is far truer to the meaning of the dance, and fairly raves
+with shrieking fury and shuddering horror. This is better, to me, than
+Heller's familiar piece.
+
+The "Second Gavotte" is a noble work, the naive gaiety of classicism
+being enriched with many of the great, pealing chords the modern piano
+is so fertile in. I count it as one of the most spontaneous gavottes
+of modern times, one that is buoyant with the afflation of the olden
+days. It carries a musette of which old Father Bach need not have felt
+ashamed,--one of the most ingenious examples of a drone-bass ever
+written.
+
+The "Menuet Moderne" is musical champagne. A very neat series of
+little variations is sheafed together, and called "Mosaics." Mr. Smith
+has written two pieces well styled "Mazurka Poetique;" the later (opus
+48) is the more original, but the sweet geniality and rapturously
+beautiful ending of opus 38 is purer music. "Les Papillons" is marked
+with a strange touch of negro color; it is, as it were, an Ethiopiano
+piece. Its best point is its cadenza. Smith has a great fondness for
+these brilliant precipitations. They not only give further evidence
+of his fondness for older schools, but they also partially explain the
+fondness of concert performers for his works. His fervid "Love
+Sonnet," his "Polonaise de Concert," full of virility as well as
+virtuosity, and his delicious "Mill-wheel Song," and a late
+composition, a brilliant "Papillon," rich as a butterfly's wing, are
+notable among his numerous works. Possibly his largest achievement is
+the three concert-transcriptions for two pianos. He has taken pieces
+by Grieg, Raff, and Bachmann, and enlarged, enforced, decorated, and
+in every way ennobled them. But to me his most fascinatingly original
+work is his "Arabesque," an entirely unhackneyed and memorable
+composition.
+
+Smith's experience in teaching has crystallized into several pedagogic
+works. His "Scale Playing with particular reference to the
+development of the third, fourth, and fifth fingers of each hand;" his
+"Eight Measure," "Octave," and "Five Minute" studies, have brought the
+most unreserved commendation from the most important of our teachers.
+A late and most happy scheme has been the use of a set of variations
+for technical and interpretative instruction. For this purpose he
+wrote his "Themes Arabesques," of which numbers one and eighteen not
+only have emotional and artistic interest, but lie in the fingers in a
+strangely tickling way.
+
+What might be called a professorial simplicity is seen in many of
+Smith's songs. The almost unadorned, strictly essential beauty of his
+melodies and accompaniments is neither neglect nor cheapness; it is
+restraint to the point of classicism, and romanticism all the intenser
+for repression. Take, for example, that perfect song, "If I but
+Knew," which would be one of a score of the world's best short songs,
+to my thinking. Note the open fifths, horrifying if you thump them
+academically, but very brave and straightforward, fitly touched.
+
+There is something of Haydn at his best in this and in the fluty
+"Shadow Song," in "The Kiss in the Rain," and "A Sailor's Lassie," for
+they are as crystalline and direct as "Papa's" own immortal
+"Schaeferlied."
+
+[Music: To Mr. Constantin Sternberg.
+
+ARABESQUE.
+
+Wilson G. Smith, Op. 39.
+
+Copyright, 1889, by O. Ditson & Co.]
+
+Smith has gone over to the great majority,--the composers who have set
+"Du bist wie eine Blume;" but he has joined those at the top. Two of
+Smith's songs have a quality of their own, an appeal that is
+bewitching: "Entreaty," a perfect melody, and "The Dimple in Her
+Cheek," which is fairly peachy in color and flavor.
+
+A strange place in the world of music is that held by Johann H. Beck,
+whom some have not feared to call the greatest of American composers.
+Yet none of his music has ever been printed. In this he resembles B.J.
+Lang, of Boston, who keeps his work persistently in the dark, even
+the sacred oratorio he has written.
+
+All of Beck's works, except eight songs, are built on very large
+lines, and though they have enjoyed a not infrequent public
+performance, their dimensions would add panic to the usual timidity
+of publishers. Believing in the grand orchestra, with its complex
+possibilities, as the logical climax of music, Beck has devoted
+himself chiefly to it. He feels that the activity of the modern artist
+should lie in the line of "amplifying, illustrating, dissecting, and
+filling in the outlines left by the great creators of music and the
+drama." He foresees that the most complicated scores of to-day will be
+Haydnesque in simplicity to the beginning of the next century, and he
+is willing to elaborate his best and deepest learning as far as in him
+lies, and wait till the popular audience grows up to him, rather than
+write down to the level of the present appreciation.
+
+The resolve and the patient isolation of such a devotee is nothing
+short of heroic; but I doubt that the truest mission of the artist is
+to consider the future too closely. Even the dictionaries and
+encyclopaedias of one decade, are of small use to the next. The tiny
+lyrics of Herrick, though, have no quarrel with time, nor has time any
+grudge against the intimate figurines of Tanagra. The burdened
+trellises of Richard Strauss may feel the frost long before the
+slender ivy of Boccherini's minuet.
+
+[Music: A FRAGMENT OF THE SCORE OF "SALAMMBO," BY JOHANN H. BECK.]
+
+Science falls speedily out of date, and philosophy is soon out of
+fashion. Art that uses both, is neither. When it makes crutches of
+them and leans its whole weight on them, it will fall with them in
+the period of their inevitable decay.
+
+Of course, there is evolution here as well as in science. The artist
+must hunt out new forms of expressing his world-old emotions, or he
+will not impress his hearers, and there is no gainsaying Beck's thesis
+that the Chinese puzzle of to-day will be the antique simplicity of a
+later epoch. But it must never be forgotten, that art should be
+complex only to avoid the greater evils of inadequacy and triteness. A
+high simplicity of plan and an ultimate popularity of appeal are
+essentials to immortal art.
+
+It is my great misfortune never to have heard one of Beck's works
+performed, but, judging from a fragment of a deliciously dreamy
+moonlight scene from his unfinished music drama, "Salammbo," which he
+kindly sent me, and from the enthusiasm of the severest critics, he
+must be granted a most unusual poetic gift, solidity and whimsicality,
+and a hardly excelled erudition. His orchestration shows a hand lavish
+with color and cunning in novel effects. Several of his works have
+been performed with great applause in Germany, where Beck spent many
+years in study. He was born at Cleveland, in 1856, and is a graduate
+of the Leipzig Conservatorium.
+
+In art, quality is everything; quantity is only a secondary
+consideration. It is on account of the quality of his work that James
+H. Rogers must be placed among the very best of modern song-writers,
+though his published works are not many. When one considers his
+tuition, it is small wonder that his music should show the finish of
+long mastery. Born in 1857, at Fair Haven, Conn., he took up the study
+of the piano at the age of twelve, and at eighteen was in Berlin,
+studying there for more than two years with Loeschorn, Rohde, Haupt,
+and Ehrlich, and then in Paris for two years under Guilmant, Fissot,
+and Widor. Since then he has been in Cleveland as organist, concert
+pianist, and teacher.
+
+[Illustration: Autograph of James H. Rogers]
+
+His songs are written usually in a characteristic form of dramatic,
+yet lyric recitative. His "Album of Five Songs" contains notable
+examples of this style, particularly the "Good-Night," "Come to Me in
+My Dreams," and the supremely tragic climax of "Jealousy." The song,
+"Evening," with its bell-like accompaniment, is more purely lyric,
+like the enchanting "At Parting," which was too delicately and
+fragrantly perfect to escape the wide popularity it has had. His
+"Declaration" is ravishingly exquisite, and offers a strange contrast
+to the "Requiescat," which is a dirge of the utmost largeness and
+grandeur. His graceful "Fly, White Butterflies," and "In Harbor," and
+the dramatic setting of "The Loreley," the jovial "Gather Ye Rosebuds"
+of jaunty Rob Herrick, the foppish tragedy of "La Vie est Vaine" (in
+which the composer's French prosody is a whit askew), that gallant,
+sweet song, "My True Love Hath My Heart," and a gracious setting of
+Heine's flower-song, are all noteworthy lyrics. He has set some of
+Tolstoi's words to music, the sinister love of "Doubt Not, O Friend,"
+and the hurry and glow of "The First Spring Days," making unusually
+powerful songs. In the "Look Off, Dear Love," he did not catch up
+with Lanier's great lyric, but he handled his material most
+effectively in Aldrich' "Song from the Persian," with its Oriental
+wail followed by a martial joy. The high verve that marks his work
+lifts his "Sing, O Heavens," out of the rut of Christmas anthems.
+
+Of instrumental work, there is only one small book, "Scenes du Bal," a
+series of nine pieces with lyric characterization in the spirit, but
+not the manner of Schumann's "Carneval." The most striking numbers are
+"Les Bavardes," "Blonde et Brune," and a fire-eating polonaise.
+
+These close the lamentably small number of manifestations of a most
+decisive ability.
+
+Another Cleveland composer well spoken of is Charles Sommer.
+
+A young woman of genuine ability, who has been too busy with teaching
+and concert pianism to find as much leisure as she deserves for
+composition, is Patty Stair, a prominent musical figure in Cleveland.
+Her theoretical studies were received entirely at Cleveland, under F.
+Bassett. Her published works include a book of "Six Songs," all of
+them interesting and artistic, and the "Madrigal" particularly
+ingenious; and a comic glee of the most irresistible humor, called "An
+Interrupted Serenade;" in manuscript are a most original song,
+"Flirtation," a jovial part song for male voices, "Jenny Kissed Me," a
+berceuse for violin and piano, a graceful song, "Were I a Brook," a
+setting of Thomas Campion's "Petition," and another deeply stirring
+religious song for contralto, "O Lamb of God."
+
+
+_The St. Louis Colony._
+
+The most original and important contribution to American music that
+St. Louis has made, is, to my mind, the book of songs written by
+William Schuyler. The words were chosen from Stephen Crane's book of
+poems, "The Black Riders." The genius of Crane, concomitant with
+eccentricity as it was, is one of the most distinctive among American
+writers. The book called "The Black Riders" contains a number of
+moods that are unique in their suggestiveness and originality. Being
+without rime or meter, the lines oppose almost as many difficulties to
+a musician as the works of Walt Whitman; and yet, as Alfred Bruneau
+has set Zola's prose to music, so some brave American composer will
+find inspiration abundant in the works of Walt Whitman and Emily
+Dickinson.
+
+[Music: III.
+
+_WILLIAM SCHUYLER._
+
+    There was, before me,
+    Mile upon mile of snow, ice, burning sand.
+    And yet I could look beyond all this,
+    To a place of infinite beauty;
+    And I could see the loveliness of her
+    Who walked in the shade of the trees.
+    When I gazed,
+    All was lost
+    But this place of beauty and her
+    When I gazed,
+    And in my gazing, desired
+    Then came again
+    Mile upon mile,
+    Of snow, ice, burning sand, burning sand.
+
+Words used by permission of Copeland and Day.
+
+Copyright, 1897, by Wm. Schuyler.
+
+FROM WM. SCHUYLER'S "BLACK RIDERS."]
+
+Schuyler was born in St. Louis, May 4, 1855, and music has been his
+livelihood. He is largely self-taught, and has composed some fifty
+pieces for the piano, a hundred and fifty songs, a few works for
+violin, viola, and 'cello, and two short trios.
+
+In his setting of these lines of Crane's, Schuyler has attacked a
+difficult problem in an ideal manner. To three of the short poems he
+has given a sense of epic vastitude, and to two of them he has given a
+tantalizing mysticism. The songs, which have been published privately,
+should be reproduced for the wide circulation they deserve.
+
+Another writer of small songs displaying unusual individuality is
+George Clifford Vieh, who was born in St. Louis and studied there
+under Victor Ehling. In 1889, he went to Vienna for three years,
+studying under Bruckner, Robert Fuchs, and Dachs. He graduated with
+the silver medal there, and returned to St. Louis, where he has since
+lived as a teacher and pianist.
+
+Alfred George Robyn is the most popular composer St. Louis has
+developed. He was born in 1860, his father being William Robyn, who
+organized the first symphonic orchestra west of Pittsburg. Robyn was a
+youthful prodigy as a pianist; and, at the age of ten, he succeeded
+his father as organist at St. John's Church, then equipped with the
+best choir in the city. It was necessary for the pedals of the organ
+to be raised to his feet. At the age of sixteen he became solo pianist
+with Emma Abbott's company. As a composer Robyn has written some three
+hundred compositions, some of them reaching a tremendous sale. A few
+of them have been serious and worth while, notably a piano concerto, a
+quintette, four string quartettes, a mass, and several orchestral
+suites.
+
+There are not many American composers that have had a fugue published,
+or have written fugues that deserve publication. It is the distinction
+of Ernest Richard Kroeger that he has written one that deserved, and
+secured, publication. This was his 41st opus. It is preceded by a
+prelude which, curiously enough, is thoroughly Cuban in spirit and is
+a downright Habanera, though not so announced. This fiery composition
+is followed by a four-voiced "real" fugue. The subject is genuinely
+interesting, though the counter-subject is as perfunctory as most
+counter-subjects. The middle-section, the stretto-work, and the
+powerful ending, give the fugue the right to exist.
+
+Among other publications are a suite for piano (op. 33), in which a
+scherzo has life, and a sonata for violin and piano, in which,
+curiously enough, the violin has not one instance of double-stopping,
+and the elaborating begins, not with the first subject taken
+vigorously, but with the second subject sung out softly. The last
+movement is the best, a quaint and lively rondo. A set of twelve
+concert etudes show the influence of Chopin upon a composer who writes
+with a strong German accent. The etude called "Castor and Pollux" is a
+vigorous number with the chords of the left hand exactly doubled in
+the right; another etude, "A Romanze," is noteworthy for the practice
+it gives in a point which is too much ignored even by the best
+pianists; that is, the distinction between the importance of the tones
+of the same chord struck by the same hand. A work of broad
+scholarship, which shows the combined influence of Beethoven and
+Chopin, who have chiefly affected Kroeger, is his sonata (op. 40). A
+dominant pedal-point of fifty-eight measures, in the last movement, is
+worth mentioning. In a "Danse Negre" and a "Caprice Negre," he has
+evidently gone, for his Ethiopian color, not to the actual negro
+music, but to the similar compositions of Gottschalk. Kroeger was born
+in St. Louis, August 10, 1862. At the age of five he took up the study
+of the piano and violin. His theoretical tuition was all had in this
+country. He has written many songs, a piano concerto, sonatas for
+piano and viola, and piano and 'cello, two trios, a quintette, and
+three string quartettes, as well as a symphony, a suite, and overtures
+based on "Endymion," "Thanatopsis," "Sardanapalus" (produced by Anton
+Seidl, in New York), "Hiawatha," and "Atala."
+
+
+
+
+CHAPTER V.
+
+THE WOMEN COMPOSERS.
+
+
+This is not the place to take up cudgels for a contest on the problem
+of woman's right to respect in the creative arts. There are some, it
+is true, who deny fervently that the feminine half of mankind ever has
+or can or ever will do original and important work there. If you press
+them too hard they will take refuge up this tree, that all women who
+ever have had success have been actually mannish of mind,--a dodge in
+question-begging that is one of the most ingenious ever devised; a
+piece of masculine logic that puts to shame all historic examples of
+womanly fallacy and sophistry. It seems to me that the question is
+easily settled on this wise: it is impossible for a rational mind to
+deny that the best work done in the arts by women is of better
+quality than the average work done by men. This lets the cat's head
+out of the bag, and her whole body follows pell-mell.
+
+In a few instances it seems to me that the best things done by women
+equal the best things done by men in those lines. The best verses of
+Sappho, the best sonnets of Mrs. Browning, the best chapters of George
+Eliot, the best animal paintings of Rosa Bonheur, do not seem to me
+surpassed by their rivals in masculine work. If anything in verse of
+its sort is nobler than Mrs. Howe's "Battle Hymn of the Republic," it
+is still in manuscript. If there is any poet of more complete
+individuality than Emily Dickinson, I have not run across his books.
+In music I place two or three of Miss Lang's small songs among the
+chief of their manner.
+
+All over the world the woman-mind is taking up music. The ban that led
+Fanny Mendelssohn to publish her music under her brother's name, has
+gone where the puritanic theory of the disgracefulness of the musical
+profession now twineth its choking coils. A publisher informs me that
+where compositions by women were only one-tenth of his manuscripts a
+few years ago, they now form more than two-thirds. From such activity,
+much that is worth while is bound to spring. Art knows no sex, and
+even what the women write in man-tone is often surprisingly strong,
+though it is wrongly aimed. But this effort is like the bombast of a
+young people or a juvenile literature; the directness and repose of
+fidelity to nature come later. The American woman is in the habit of
+getting what she sets her heart on. She has determined to write
+music.
+
+With an ardor that was ominous of success, Miss Amy Marcy Cheney,
+after a short preliminary course in harmony, resolved to finish her
+tuition independently. As an example of the thoroughness that has
+given her such unimpeachable knowledge of her subject, may be
+mentioned the fact that she made her own translation of Berlioz and
+Gavaert. She was born in New Hampshire, of descent American back to
+colonial times. At the age of four she wrote her opus 1. She is a
+concert pianist as well as a frequent composer in the largest forms.
+She is now Mrs. H.H.A. Beach.
+
+[Illustration: MRS. H.H.A. BEACH.]
+
+Not many living men can point to a composition of more maturity and
+more dignity than Mrs. Beach' "Jubilate," for the dedication of the
+Woman's Building at the Columbian Exposition. The work is as big as
+its name; it is the best possible answer to skeptics of woman's
+musical ability. It may be too sustainedly loud, and the infrequent
+and short passages piano are rather breathing-spells than contrasting
+awe, but frequently this work shows a very magnificence of power and
+exaltation. And the ending is simply superb, though I could wish that
+some of the terrific dissonances in the accompaniment had been put
+into the unisonal voices to widen the effect and strengthen the final
+grandeur. But as it is, it rings like a clarion of triumph,--the cry
+of a Balboa discovering a new sea of opportunity and emotion.
+
+Another work of force and daring is the mass in E flat (op. 5), for
+organ and small orchestra. It is conventionally ecclesiastic as a
+rule, and suffers from Mrs. Beach' besetting sin of over-elaboration,
+but it proclaims a great ripeness of technic. The "Qui Tollis" is
+especially perfect in its sombre depth and richness. The "Credo" works
+up the cry of "crucifixus" with a thrilling rage of grief and a
+dramatic feeling rare in Mrs. Beach' work. This work was begun at the
+age of nineteen and finished three years later. It was given with
+notable effect in 1892 by the Haendel and Haydn Society of Boston.
+
+Mrs. Beach' "Valse Caprice" has just one motive,--to reach the maximum
+of technical trickiness and difficulty. There is such a thing as
+hiding one's light under a bushel, and there is such a thing as
+emptying a bushel of chaff upon it.
+
+"Fireflies" is a shimmering and flitting caprice of much ingenuity,
+but it keeps in the field of dissonance almost interminably, and clear
+harmony is not so much the homing-place of its dissonance, as an
+infrequent glint through an inadvertent chink. This neat composition
+is one of four "Sketches for the Piano," of which "Phantoms" is
+delightful with ghostliness. "In Autumn" is a most excellent
+tone-poem, and "Dreaming" is a well-varied lyric. As a colorist Mrs.
+Beach is most original and studious. Her tireless hunt for new tints
+often diverts her indeed from the direct forthright of her meaning,
+but the "Danse des Fleurs" is rich in its gorgeousness. The flowing
+grace of the "Menuet Italien" makes it an uncharacteristic but
+charming work.
+
+[Music: PHANTOMS.
+
+    "Toute fragiles fleurs, sitot mortes que nees."
+                                  Victor Hugo.
+
+Mrs. H.H.A. Beach.
+
+Copyright, 1892, by Arthur P. Schmidt.
+
+A FRAGMENT.]
+
+Horace, you know, promises to write so that any one will think him
+easy to equal, though much sweat will be shed in the effort. It is the
+transparency of her studiousness, and the conspicuous labor in
+polishing off effects and mining opportunity to the core, that chiefly
+mars the work of Mrs. Beach, in my opinion. One or two of the little
+pieces that make up the half-dozen of the "Children's Carnival" are
+among her best work, for the very cheery ease of their look.
+"Pantalon," "Harlequin," "Columbine," and "Secrets" are infinitely
+better art than a dozen valse-caprices.
+
+Both the defects and effects of her qualities haunt Mrs. Beach' songs.
+When she is sparing in her erudition she is delightful. Fourteen of
+her songs are gathered into a "Cyclus." The first is an "Ariette,"
+with an accompaniment imitating the guitar. It is both tender and
+graceful. Probably her best song is the setting of W.E. Henley's fine
+poem, "Dark is the Night." It is of the "Erl-King" style, but highly
+original and tremendously fierce and eerie. The same poet's "Western
+Wind" is given a setting contrastingly dainty and serene. "The
+Blackbird" is delicious and quite unhackneyed. "A Secret" is bizarre,
+and "Empress of the Night" is brilliant. With the exception of a
+certain excess of dissonance for a love-song, "Wilt Thou Be My
+Dearie?" is perfect with amorous tenderness. "Just for This!" is a
+delightful vocal scherzo of complete originality and entire success.
+"A Song of Love" is passionate and yet lyric, ornamented but not
+fettered. "Across the World" has been one of Mrs. Beach' most popular
+songs; it is intense and singable. "My Star" is tender, and the
+accompaniment is richly worked out on simple lines. Three Vocal Duets
+are well-handled, but the long "Eilende Wolken" has a jerky recitative
+of Haendelian _naivete_, to which the aria is a welcome relief. Her
+sonata for piano and violin has been played here by Mr. Kneisel, and
+in Berlin by Mme. Carreno and Carl Halir.
+
+Besides these, Mrs. Beach has done not a little for the orchestra. Her
+"Gaelic Symphony" is her largest work, and it has been often played by
+the Boston Symphony, the Thomas, and other orchestras. It is
+characterized by all her exuberant scholarship and unwearying energy.
+
+[Illustration: MARGARET RUTHVEN LANG.]
+
+Margaret Ruthven Lang, the daughter of B.J. Lang, is American by birth
+and training. She was born in Boston, November 27, 1867. She has
+written large works, such as three concert overtures, two of which
+have been performed by the Thomas and the Boston Symphony Orchestras,
+though none of them are published. Other unpublished works are a
+cantata, two arias with orchestral accompaniment, and a rhapsody for
+the piano. One rhapsody has been published, that in E minor; in spite
+of its good details, it is curiously unsatisfying,--it seems all
+prelude, interlude, and postlude, with the actual rhapsody
+accidentally overlooked. A "Meditation" is bleak, with a strong, free
+use of dissonance.
+
+"The Jumblies" is a setting of Edward Lear's elusive nonsense, as full
+of the flavor of subtile humor as its original. It is for male chorus,
+with an accompaniment for two pianos, well individualized and erudite.
+It is in her solo songs, however, that her best success is reaped.
+
+When I say that Mrs. Beach' work is markedly virile, I do not mean it
+as compliment unalloyed; when I find Miss Lang's work supremely
+womanly, I would not deny it great strength, any more than I would
+deny that quality to the sex of which Joan of Arc and Jael were not
+uncharacteristic members.
+
+Such a work as the "Maiden and the Butterfly" is as fragile and rich
+as a butterfly's wing. "My Lady Jacqueminot" is exquisitely,
+delicately passionate. "Eros" is frail, rare, ecstatic. "Ghosts" is
+elfin and dainty as snowflakes. The "Spinning Song" is inexpressibly
+sad, and such music as women best understand, and therefore ought to
+make best. But womanliness equally marks "The Grief of Love," which is
+in every sense big in quality; marks the bitterness of "Oh, What Comes
+over the Sea," the wailing Gaelic sweetness of the "Irish Love Song,"
+and the fiery passion of "Betrayed," highly dramatic until its rather
+trite ending. "Nameless Pain" is superb. Her "Lament" I consider one
+of the greatest of songs, and proof positive of woman's high
+capabilities for composition. Miss Lang has a harmonic individuality,
+too, and finds out new effects that are strange without strain.
+
+[Music: GHOSTS.
+
+Words by Munkittrick.
+
+MARGARET RUTHVEN LANG.
+
+    Out in the misty moonlight, the first snow flakes I see,
+    As they frolic among the leafless boughs of the apple tree.
+    Faintly they seem to whisper, as round the boughs they wing;
+    "We are the ghosts of the flowers who died in the early spring,
+    Who died in the early spring."
+
+Copyright, 1889, by Arthur P. Schmidt & Co.]
+
+"My Turtle Dove," among the "Five Norman Songs," in fearlessness and
+harmonic exploration shows two of the strongest of Miss Lang's traits.
+Her _recherches_ harmonies are no pale lunar reflection of masculine
+work. Better yet, they have the appearance of spontaneous ease, and
+the elaborateness never obtrudes itself upon the coherence of the
+work, except in a few such rare cases as "My Native Land," "Christmas
+Lullaby," and "Before My Lady's Window." They are singable to a degree
+unusual in scholarly compositions. To perfect the result Miss Lang
+chooses her poems with taste all too rare among musicians, who seem
+usually to rate gush as feeling and gilt as gold. Her "Oriental
+Serenade" is an example of weird and original intervals, and "A Spring
+Song," by Charlotte Pendleton, a proof of her taste in choosing words.
+
+Her opus 32 is made up of two songs, both full of fire and
+originality. Opus 33 is a captivating "Spring Idyl" for the piano, for
+which she has also written a "Revery," of which the exquisiteness of
+sleep is the theme. The music is delicious, and the ending is a rare
+proof of the beautiful possibilities of dissonance.
+
+Personally, I see in Miss Lang's compositions such a depth of
+psychology that I place the general quality of her work above that of
+any other woman composer. It is devoid of meretriciousness and of any
+suspicion of seeking after virility; it is so sincere, so true to the
+underlying thought, that it seems to me to have an unusual chance of
+interesting attention and stirring emotions increasingly with the
+years.
+
+An interesting and genuine individuality will transpire through the
+most limited amount of creative art. This has been the case with the
+few published works of a writer, whose compositions, though
+unpretentious in size and sentiment, yet reveal a graceful fancy, and
+a marked contemplation upon the details of the moods.
+
+Irene Baumgras was born at Syracuse, New York, and studied the piano
+at the Cincinnati Conservatory of Music, where she took the Springer
+gold medal in 1881. She studied in Berlin with Moszkowski and Oscar
+Raif. She was married in Berlin, in 1884, to Philip Hale, the
+distinguished Boston musical critic.
+
+Her devotion to her art was so great that her health broke down from
+overwork, and she was compelled to give up piano playing. Some of her
+compositions have been published under the name of "Victor Rene." Her
+15th opus is made up of three "Morceaux de Genre," of which the
+"Pantomime" is a most volatile harlequinade, with moods as changeful
+as the key; a remarkably interesting composition. Four "Pensees
+Poetiques" make up opus 16. They include a blithe "Chansonette" and a
+"Valse Impromptu," which, unlike the usual impromptu, has the _ex
+tempore_ spirit. Of her songs, "Mystery" is a charming lyric; "Maisie"
+is faithful to the ghoulish merriment of the words; and "An Opal
+Heart" is striking for interesting dissonances that do not mar the
+fluency of the lyric.
+
+Of much refinement are the fluent lyrics of Mrs. Mary Knight Wood.
+They show a breadth in little, and a fondness for unexpected harmonies
+that do not disturb the coherence of her songs. They possess also a
+marked spontaneity. An unexpected effect is gained by the brave E flat
+in her "Serenade." Her popular "Ashes of Roses" also has a rich
+harmonic structure. Among other songs, one with an effective obbligato
+for the violoncello deserves special praise. She has written also for
+the violin and piano, and trios for 'cello, violin, and piano.
+
+Other women who have written certain works of serious intention and
+worthy art, are Mrs. Clara A. Korn, Laura Sedgwick Collins, the
+composer of an ingenious male quartette, "Love is a Sickness," and
+many excellent songs, among them, "Be Like That Bird," which is
+ideally graceful; Fanny M. Spencer, who has written a collection of
+thirty-two original hymn tunes, a good anthem, and a Magnificat and
+Nunc Dimittis of real strength; Julie Rive-King, the author of many
+concert pieces; Patty Stair, of Cleveland; Harriet P. Sawyer, Mrs.
+Jessie L. Gaynor, Constance Maud, Jenny Prince Black, Charlotte M.
+Crane, and Helen Hood.
+
+
+
+
+CHAPTER VI.
+
+THE FOREIGN COMPOSERS.
+
+
+Ours is so young, and so cosmopolite, a country, that our art shows
+the same brevity of lineage as our society. Immigration has played a
+large part in the musical life of the United States, as it has in the
+make-up of the population; and yet for all the multiplexity of his
+ancestry, the American citizen has been assimilated into a distinctive
+individuality that has all the traits of his different forbears, and
+is yet not closely like any of them. So, American music, taking its
+scale and most of its forms from the old country, is yet developing an
+integrity that the future will make much of. As with the federation of
+the States, so will one great music ascend polyphonically,--_e
+pluribus unum_.
+
+In compiling this directory of American composers, it has been
+necessary to discuss the works only of the composers who were born in
+this country. It is interesting to see how few of these names are
+un-American, how few of them are Germanic (though so many of them have
+studied in Germany). Comment has often been made upon the Teutonic
+nature of the make-up of our orchestras. It is pleasant to find that a
+very respectable list of composers can be made up without a
+preponderance of German names.
+
+The music life of our country, however, has been so strongly
+influenced and enlivened and corrected by the presence of men who were
+born abroad that some recognition of their importance should somewhere
+be found. Many of them have become naturalized and have brought with
+them so much enthusiasm for our institutions that they are actually
+more American than many of the Americans; than those, particularly,
+who, having had a little study abroad, have gone quite mad upon the
+superstition of "atmosphere," and have brought home nothing but
+foreign mannerisms and discontent.
+
+Among the foreign born who have made their home in America, I must
+mention with respect, and without attempting to suggest order of
+precedence, the following names:
+
+C.M. Loeffler, Bruno Oscar Klein, Leopold Godowski, Victor Herbert,
+Walter Damrosch, Julius Eichberg, Dr. Hugh A. Clarke, Louis V. Saar,
+Asgar Hamerik, Otto Singer, August Hyllested, Xavier Scharwenka,
+Rafael Joseffy, Constantin von Sternberg, Adolph Koelling, August
+Spanuth, Aime Lachaume, Max Vogrich, W.C. Seeboeck, Julian Edwards,
+Robert Coverley, William Furst, Gustave Kerker, Henry Waller, P.A.
+Schnecker, Clement R. Gale, Edmund Severn, Platon Brounoff, Richard
+Burmeister, Augusto Rotoli, Emil Liebling, Carl Busch, John Orth,
+Ernst Perabo, Ferdinand Dunkley, Mrs. Clara Kathleen Rogers, Miss
+Adele Lewing, Mrs. Elisa Mazzucato Young.
+
+It is perhaps quibbling to rule out some of these names from
+Americanism, and include certain of those whom I have counted American
+because they were born here, in spite of the fact that their whole
+tuition and tendency is alien. But the line must be drawn somewhere.
+The problem is still more trying in the case of certain composers who,
+having been born here, have expatriated themselves, and joined that
+small colony of notables whom America has given to Europe as a first
+instalment in payment of the numerous loans we have borrowed from the
+old country.
+
+For the sake of formally acknowledging this debt, I will not endeavor
+to discuss here the careers of George Templeton Strong, Arthur Bird,
+or O.B. Boise, all three of whom were born in this country, but have
+elected to live in Berlin. Their distinction in that city at least
+palely reflects some credit upon the country that gave them birth.
+
+
+
+
+POSTLUDE.
+
+
+In the ninth century Iceland was the musical center of the world;
+students went there from all Europe as to an artistic Mecca. Iceland
+has long lost her musical crown. And Welsh music in its turn has
+ceased to be the chief on earth. Russia is sending up a strong and
+growing harmony marred with much discord. Some visionaries look to her
+for the new song. But I do not hesitate to match against the serfs of
+the steppes the high-hearted, electric-minded free people of our
+prairies; and to prophesy that in the coming century the musical
+supremacy and inspiration of the world will rest here overseas, in
+America.
+
+
+THE END.
+
+
+
+
+INDEX.
+
+[Transcriber's Note: Misspellings in the original Index have been
+corrected, and the entries have been placed in the proper order.]
+
+
+Abt Society, 198.
+
+Academy of Dramatic Arts, 79.
+
+AEschylean Chorus, 53.
+
+Agramonte, Emilio, 41.
+
+Aldrich, Anna Reeve, 313.
+
+Aldrich, T.B., 89, 108, 204.
+
+Allen, C.N., 244.
+
+Allen, N.H., 273.
+
+Allen, P.C., 272.
+
+Allison, XIII.
+
+Ambrosius, Johanna, 349.
+
+Americanism in Music, 12, 33, 58.
+
+Apollo Club, 168, 236, 331.
+
+Apthorp, W.F., 370.
+
+Arion Society, 190.
+
+Arnold, Maurice, 135, 139.
+
+Arnold, Sir Edwin, 171.
+
+Aus der Ohe, Adele, 293.
+
+
+Bach, J.S., 15, 225, 227, 248, 399, 400.
+
+Baltzell, Willard J., 275.
+
+Bartlett, H.N., 317, 327.
+
+Bassett, F., 415.
+
+Bates, Arlo, 187, 368.
+
+Baumgras, Irene, 439.
+
+Beach, Mrs. H.H.A., 426, 432, 433.
+
+Beck, Johann H., 406, 411.
+
+Beethoven, 12, 52, 56, 100, 116, 148, 163, 178, 208, 306.
+
+Bendel, 237.
+
+"Ben Hur," 72.
+
+Benkert, G.F., 119.
+
+Bennett, Sterndale, 257.
+
+Berlioz, 144, 219, 243, 307, 426.
+
+Bernard of Cluny's, 183.
+
+Best, W.T., 361.
+
+Bird, Arthur, 446.
+
+Black, Jennie Prince, 441.
+
+"Blind Tom," 59.
+
+Boccherini, 407.
+
+Bodenstedt, 364.
+
+Boise, O.B., 292, 299, 388, 446.
+
+Boston Colony, 269, 350, 371.
+
+Boston Symphony Orchestra, 18, 219, 233, 269, 281, 282, 286, 292, 432.
+
+Bourdillon's, 109, 312.
+
+Brahms, 56, 97, 114, 255, 284.
+
+Breton, XIII.
+
+Brewer, J.H., 331, 334.
+
+Bristow, George F., 246.
+
+Brockway, Howard, 298, 304.
+
+Brounoff, Platon, 445.
+
+Browning, E.B., 424.
+
+Browning, Robt., 89, 99.
+
+Bruce, Edwin, 388.
+
+Bruch, Max, 136.
+
+Bruckner, 419.
+
+Bruneau, Alfred, 418.
+
+Buck, Dudley, 165, 173, 174, 305, 324, 331, 361, 381, 392.
+
+Bullard, F.F., 351, 357.
+
+Burmeister, Richard, 445.
+
+Burns, 204.
+
+Burton, F.R., 273.
+
+Busch, Carl, 445.
+
+Byrd, XIII.
+
+Byron, 252.
+
+
+Canova, 12.
+
+Carew, XIII.
+
+Carnegie, A., 256.
+
+Carpenter, H.B., 213.
+
+Carreno, 36.
+
+Carroll, Lewis, 212.
+
+Carter, R.I., 294.
+
+Chadwick, Geo. W., 18, 175, 210, 220, 244, 347, 358.
+
+Chaminade, 218.
+
+Champion, T., XIII., 415.
+
+Cheney, J.V., 89, 90.
+
+Chicago Colony, 18.
+
+Chicago Orchestra, 18.
+
+Chinese Music, 64, 86, 140, 143.
+
+Chopin, 52, 56, 90, 98, 100, 110, 116, 138, 163, 177, 178, 211, 250,
+294, 317, 319, 338, 396, 421.
+
+Cincinnati Colony, 191, 270, 272.
+
+Clarke, H.A., 198, 444.
+
+Clementi, 113.
+
+Cleveland Colony, 394, 415.
+
+Coccius, 132, 249.
+
+Coerne, L.A., 262, 265.
+
+Coleridge, 62, 309.
+
+College Music, 20, 38.
+
+Collins, Laura S., 441.
+
+Columbus, 234.
+
+Converse, C.C., 256, 261.
+
+Coombs, C.W., 343.
+
+Corelli, 15.
+
+Couperin, 16.
+
+Coverley, Robert, 444.
+
+Cramer, 321.
+
+Crane, Charlotte M., 441.
+
+Crane, Stephen, 415, 418.
+
+
+Dachs, 419.
+
+Damrosch, Walter, 261, 444.
+
+Dante, 229.
+
+De Koven, R., 334.
+
+De Musset, A., 109.
+
+Dennee, Charles, 374.
+
+Dickinson, Emily, 369, 418, 424.
+
+Diemer, 134.
+
+Donne, Jno., XIII.
+
+Dowland, XIII.
+
+Draessecke, 343.
+
+Drake, Rodman, 131, 168.
+
+Drayton, XIII.
+
+Dreams and Music, 62.
+
+Dressler, L.R., 345.
+
+Drummond, XIII., 153.
+
+Dubois, 134, 358.
+
+Dudley, Governor, 166.
+
+Dunbar, P.L., 206.
+
+Dunkley, Ferdinand, 445.
+
+Dvorak, A., 22, 77, 128, 129, 131, 132, 136, 278, 279, 305, 349, 371.
+
+
+Eddy, Clarence, 59, 348.
+
+Edison, 16.
+
+Edwards, Julian, 444.
+
+Egyptian Music, 72.
+
+Ehlert, 37.
+
+Ehling, Victor, 419.
+
+Ehrlich, 412.
+
+Eichberg, Julius, 444.
+
+Elson, L.C., 16.
+
+Emerson, 14.
+
+Emery, Stephen A., 17, 95, 175, 244, 358, 375.
+
+English Music, 12, 248, 329.
+
+Esputa, John, 119.
+
+
+Fairlamb, J.R., 344.
+
+Farwell, A., 348.
+
+Feval, 79.
+
+Field, John, 227.
+
+Finck, Henry T., 54.
+
+Fisher, W.A., 348, 371.
+
+Fissot, 412.
+
+Fletcher, XII., 150.
+
+Florio, 31.
+
+Foerster, A.M., 248, 256.
+
+Folk-music, 22.
+
+Foote, Arthur, 18, 224, 234.
+
+Ford, XIII.
+
+Franz, Robt., 101, 104, 106, 173, 203, 248.
+
+French influence, 29, 36, 357.
+
+Fuchs, Robt., 419.
+
+Furst, Wm., 444.
+
+
+Gale, Clement R., 445.
+
+Gale, Norman, 88.
+
+Gavaert, 426.
+
+Gaynor, Mrs. Jessie L., 441.
+
+Genee, 335.
+
+German Influence, etc., 17, 40, 49, 59, 119, 132, 260.
+
+Gerok, 106.
+
+Gilchrist, W.W., 196, 209.
+
+Gilder, R.W., 277.
+
+Gilmore, P.S., 124, 261.
+
+Gleason, F.G., 348, 376, 382.
+
+Godard, 358.
+
+Godowski, L., 444.
+
+Goethe, 43, 95, 255.
+
+Goetschius, Percy, 388.
+
+Goldmark, Carl, 279, 281.
+
+Goldmark, Rubin, 278, 282.
+
+Goodrich, A.J., 28, 130, 171, 199, 380, 388, 391.
+
+Goodrich, J. Wallace, 348.
+
+Gottschalk, Louis Moreau, 17, 301, 422.
+
+Gounod, 321.
+
+Grabau, 371.
+
+Grand Operas, 152, 262.
+
+Gray, XII.
+
+Greek Music, 72, 73, 155.
+
+Greene, XII.
+
+Grieg, 39, 54, 134, 190, 281, 396.
+
+Grill, 132, 249.
+
+Guilbert, Yvette, 129.
+
+Guilmant, 358, 412.
+
+Guyon, 322.
+
+
+Hadley, H.K., 241, 247.
+
+Haggard, Rider, 214.
+
+Hale, F.W., 358.
+
+Hale, Mrs. Philip, 439.
+
+Hale, Philip, 186, 288, 439.
+
+Halir, Carl, 432.
+
+Hall, Bishop, XIII.
+
+Hamerik, A., 444.
+
+Hammond, Dr. Wm. A., 62.
+
+Haendel, 15, 152, 162, 184, 246, 432.
+
+Haendel and Haydn Society, 374, 428.
+
+Hanscom, E.W., 275.
+
+Hanslick, 129.
+
+Harris, Victor, 336.
+
+Harvard University, 154, 222.
+
+Hastings, F.S., 344.
+
+Haupt, 151, 257, 311, 412.
+
+Hauptmann, 167, 257, 347.
+
+Hawley, C.B., 32.
+
+Haydn, 403, 407.
+
+Heindl, H., 244.
+
+Heine, 44, 88, 104, 105, 196, 215, 247, 309, 364, 413.
+
+Heller, 164, 350.
+
+Hemans, 202.
+
+Henderson, W.J., 185.
+
+Henley, W.E., 431.
+
+Henselt, 104.
+
+Herbert, XIII.
+
+Herbert, Victor, 444.
+
+Herford, Oliver, 369.
+
+Herrick, XIII., 87, 179, 228, 369, 407, 413.
+
+Heyman, 37.
+
+Hieber, 263.
+
+Hiler, E.O., 375.
+
+Hood, Helen, 441.
+
+Homer, Sidney, 375.
+
+Hopkins, H.P., 349.
+
+Hopper, 126.
+
+Horace, 430.
+
+Hovey, Richard, 110, 351.
+
+Howe, Mrs. J.W., 424.
+
+Humorous Music, 25, 64, 212, 433.
+
+Humperdinck, 348.
+
+Huneker, James, 39, 52, 54, 281.
+
+Huss, H.H., 291, 297, 351.
+
+Hyllested, August, 444.
+
+
+Iceland, 447.
+
+Indian Music, 22, 48, 49.
+
+Irving, 170.
+
+
+Jacobsen, O.F., 322.
+
+Jadassohn, 211, 271.
+
+Japanese Music, 139, 142.
+
+Jensen, G., 136, 350.
+
+Joachim, 97.
+
+John, 343.
+
+Johns, Clayton, 368, 370.
+
+Jonson, XII., 57, 88.
+
+Jordan, Jules, 274.
+
+Joseffy, 71, 278, 444.
+
+
+Kaltenborn, Franz, 19, 279, 295.
+
+Keats, 152, 296.
+
+Kelley, Edgar S., 27, 57, 76, 140, 272.
+
+Kerker, Gustave, 444.
+
+Kiel, 237, 371, 396.
+
+Kieserling, R., Jr., 270.
+
+Kipling, 50, 206, 359.
+
+Klein, B.O., 444.
+
+Klindworth, Karl, 95, 96, 97, 111.
+
+Kneisel, Franz, 263, 286, 432.
+
+Koelling, Adolph, 444.
+
+Korn, Mrs. Clara A., 441.
+
+Kortheuer, H.O.C., 299.
+
+Kotzschmar, 150.
+
+Krehbiel, H.E., 273, 361.
+
+Kroeger, E.R., 420, 422.
+
+Kruger, 59.
+
+Kullak, 342, 387.
+
+
+Lachaume, Amie, 444.
+
+Lachmund, C.V., 349.
+
+Lang, B.J., 95, 212, 226, 375, 432.
+
+Lang, M.R., 424, 432, 438.
+
+Lanier, S., 169, 171, 173.
+
+Lassen, Edward, 132, 190.
+
+Lassus, 15.
+
+Lawes, Harry, 153, 248, 328.
+
+Leading Motives, 80.
+
+Ledochowski, 59.
+
+Lewing, Adele, 445.
+
+Liebling, Emil, 445.
+
+Liszt, 37, 59, 97, 190, 196, 237, 341, 387.
+
+Lodge, XIII.
+
+Loeffler, C.M., 444.
+
+Longfellow, 81, 223, 224.
+
+Loomis, C.B., 84.
+
+Loomis, H.W., 27, 77, 91.
+
+Loretz, J.M., 344.
+
+Loeschorn, 411.
+
+Lowell, 201.
+
+Lulli, 16.
+
+Lyly, XIII.
+
+
+MacDowell, E.A., 18, 23, 34, 57.
+
+Macmonnies, 242.
+
+Mandyczewski, 244.
+
+Manney, C.F., 348.
+
+Manuscript Societies, 20.
+
+March-tunes, 112.
+
+Marlowe, XII.
+
+Marmontel, 37.
+
+Marston, G.W., 358, 364, 368.
+
+Marteau, Henri, 134.
+
+Martin, E.S., 30.
+
+Marx, A.B., 389.
+
+Mason, Dr. Wm., 340, 341, 387.
+
+Mason, Lowell, 17, 157, 340.
+
+Maud, Constance, 441.
+
+McCagg Prize, 176.
+
+McCaull, 126.
+
+McLellan, C.M.S., 63.
+
+Mendelssohn, 59, 155, 157, 184.
+
+Mendelssohn Club, 209.
+
+Mendelssohn, Fanny, 425.
+
+Mendelssohn Glee Club, 199, 200, 325.
+
+Meyerbeer, 126.
+
+Miles, General, 116.
+
+Millard, H., 337.
+
+Miller, C.C., 392.
+
+Millet, 313.
+
+Mills, S.B., 321.
+
+Milton, 152, 328.
+
+Montaigne, 31.
+
+Monteverde, 16.
+
+Moody and Sankey, 157.
+
+Morgan, John P., 371.
+
+Morgan, Matt., 120.
+
+Moscheles, 167, 311, 347, 381.
+
+Mosenthal, J., 324.
+
+Moskowski, 396, 439.
+
+Mozart, 116, 306, 395.
+
+
+Namby-pamby, 25.
+
+National Airs, 259.
+
+Negro Music, 22, 23, 48, 122, 128, 131, 137.
+
+Neidlinger, W.H., 391, 394.
+
+Neitzel, 136.
+
+Nevin, Arthur, 342.
+
+Nevin, Ethelbert, 92, 111.
+
+Nevin, R.P., 94.
+
+New York Colony, 269, 282, 350.
+
+Nicode, 129.
+
+Nobles, M., 120.
+
+Norris, Homer A., 29, 348, 357, 358, 388.
+
+Northeastern Saeengerbund, 191.
+
+
+Offenbach, 120.
+
+Omar, 338.
+
+Orientalism, 45.
+
+Orth, John, 175, 445.
+
+Oxenford, John, 329.
+
+
+Page, N.C., 139, 143, 272.
+
+Paine, John Knowles, 18, 162, 226, 263, 370.
+
+Palestrina, 16, 284.
+
+Pantomime Music, 79, 110.
+
+Papperitz, 132, 249.
+
+Parker, H.W., 174, 188, 192, 371, 347.
+
+Parker, J.C.D., 373.
+
+Parker, Mrs. E.G., 183.
+
+Parrot, John, 60.
+
+Pasmore, H.B., 272.
+
+Pendleton, C, 345.
+
+Penfield, S.M., 347.
+
+Perabo, Ernst, 445.
+
+Peri, 15.
+
+Perosi, 284.
+
+Perugino, 12.
+
+Philadelphia, 197.
+
+Pierne, 134.
+
+Plaidy, 167, 257, 381.
+
+Poe, 14, 76.
+
+Porpora, 15.
+
+Pratt, S.G., 234, 240, 347.
+
+Proctor, A.A., 81.
+
+Program Music, 41, 44.
+
+Prout, E., 389.
+
+Pugno, 134.
+
+Purcell, 14, 248.
+
+Puritan Influence, 14, 15.
+
+
+Radeck, 361.
+
+Raff, 37, 41, 97, 147.
+
+Raif, O., 381, 396, 439.
+
+Ralegh, XIII.
+
+Rameau, 16.
+
+Rankin, McKee, 60.
+
+Raphael, 12.
+
+Reinecke, 132, 211, 271, 347.
+
+"Rene Victor," 439.
+
+Rheinberger, J., 211, 292, 355.
+
+Richter, E.F., 167, 249, 257, 342, 381, 387.
+
+Rietz, 167.
+
+Rive-King, Julie, 441.
+
+Robyn, A.G., 419.
+
+Robyn, Wm., 419.
+
+Rogers, J.H., 411, 414.
+
+Rogers, Mrs. C.K., 445.
+
+Rohde, 311, 412.
+
+Rossini, 183.
+
+Rotoli, Augusto, 445.
+
+Rubinstein, 77, 129.
+
+Rueckert, 193.
+
+Rummel, Franz, 371.
+
+Runciman, John F., 14.
+
+Russell, L.A., 144.
+
+Russian music, 57, 447.
+
+Rutenber, 324.
+
+
+Saar, L.V., 444.
+
+Saint-Saens, 108.
+
+San Francisco, 59, 272, 371.
+
+Sappho, 424.
+
+Savard, 37.
+
+Sawyer, H.P., 441.
+
+Scarlattis, 15.
+
+Scharwenka, X., 396, 444.
+
+Schiller, 95.
+
+Schimon, 249.
+
+Schnecker, P.A., 445.
+
+Schoenefeld, 128, 135.
+
+Schubert, 103, 261, 350.
+
+Schumann, VII., 56, 88, 91, 98, 101, 104, 106, 163, 173, 177, 215, 397.
+
+Schuyler, Wm., 415, 419.
+
+Scotch influence, 38, 39, 61, 196.
+
+Scott, 12, 171.
+
+Seeboeck, W.C., 444.
+
+Seidl, A., 236, 245, 261, 279, 322, 349, 422.
+
+Seiffritz, 59, 343.
+
+Seiss, 350.
+
+Severn, E., 445.
+
+Shakespeare,. XII., 31, 57, 60, 87, 95, 150, 152, 173, 228, 239, 297.
+
+Sharp, Wm., 81.
+
+Shelley, 351.
+
+Shelley, H.R., 304, 308.
+
+Sherwood, Wm. H., 19, 60, 286, 311, 370, 383, 387.
+
+Shirley, XIII.
+
+Sidney, XIII., 228.
+
+Siloti, A., 192.
+
+Singer, Otto, 396, 444.
+
+Sitt, H., 192.
+
+Smith, G., 309, 319.
+
+Smith, Wilson G., 395, 406.
+
+Sommer, Charles, 414.
+
+Sonatas, 51, 56, 84.
+
+Sophokles, 154, 161.
+
+Sousa, John P., 112, 128.
+
+Spanish influence, 119.
+
+Spanuth, A., 444.
+
+Speidel, 59, 343.
+
+Spencer, Fanny M., 441.
+
+Spenser, XIII.
+
+Spohr, 257.
+
+Stair, Patty, 414, 441.
+
+Stedman, E.C., 171, 277, 373.
+
+Sternberg, Constantin von, 444.
+
+Stevenson, R.L., 12, 105.
+
+St. Louis Colony, 270, 415, 422.
+
+Stoeckel, G.J., 305.
+
+Strauss, J., 114.
+
+Strauss, R., 407.
+
+Strong, G.T., 445.
+
+Suckling, 228.
+
+Swinburne, 383.
+
+Symphonies, 64, 147, 218, 298.
+
+
+Taft, F., 347.
+
+Tartini, 15, 62.
+
+Taussig, 342, 381.
+
+Tennyson, 42, 55, 328.
+
+Theokritos, 384.
+
+Theorists, 28, 388.
+
+Thomas, Theodore, 18, 151, 153, 168, 169, 257, 261, 264, 349, 376, 380,
+432.
+
+Tschaikowski, 232, 372, 391.
+
+Tufts, John W., 366.
+
+
+Upton, Geo. P., 152, 380.
+
+Urban, 135.
+
+
+Van der Stucken, Frank, 19, 188, 196, 292.
+
+Vergil, 229.
+
+Verlaine, 81.
+
+Vieh, G.C., 419.
+
+Vierling, 135.
+
+Vogrich, Max, 444.
+
+Von Boehme, 94.
+
+Von Buelow, H., 96.
+
+
+Wagner, 50, 56, 99, 111, 114, 125, 157, 162, 201, 207, 223, 237.
+
+Wagner, Frau Cosima, 97.
+
+Waller, Henry, 444.
+
+Warren, G.W., 324, 346.
+
+Warren, R.H., 345, 347.
+
+Warren, S.P., 311.
+
+Weatherby, F.E., 329.
+
+Weitzmann, 381, 387.
+
+Welsh Music, 447.
+
+Wheeler, A.C., 320.
+
+Whelpley, B.L., 375.
+
+Whiting, 283, 291.
+
+Whiting, G.E., 360.
+
+Whitman, Walt, 14, 418.
+
+Whittier, 153.
+
+Widor, 412.
+
+Wiegand, Emil, 270.
+
+Wieprecht, 151.
+
+Willaert, 15.
+
+Wither, XIII.
+
+Women as Composers, 423, 441.
+
+Wood, Mrs. M.K., 440.
+
+Woodberry, G.E., 161.
+
+Wotton, XIII.
+
+Wuellner, 136.
+
+
+Yale University, 175.
+
+Young, Mrs. E.M., 445.
+
+
+Zeck, F., Jr., 272.
+
+Zeno, 12.
+
+Zola, 418.
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Contemporary American Composers, by Rupert Hughes
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS ***
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