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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:10:18 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:10:18 -0700 |
| commit | 5b05c04288ed7020b9f6012b4358e4fe79885c48 (patch) | |
| tree | f9d866c0cef28c21f331f85579bb95d551402073 /23800-h | |
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diff --git a/23800-h/23800-h.htm b/23800-h/23800-h.htm new file mode 100644 index 0000000..bf7bd12 --- /dev/null +++ b/23800-h/23800-h.htm @@ -0,0 +1,11961 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <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> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 65%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + hr.short { width: 15%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + hr.title { width: 100%; + background-color: black; + height: 2px; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 12%; + margin-right: 12%; + } + + .pagenum {position: absolute; left: 92%; + font-size: 75%; text-indent: 0em; + border-top: solid gray 1px; border-bottom: solid gray 1px; + background-color: inherit; font-weight: normal; + font-style: normal; font-variant: normal; + text-decoration: none;} + + + .blockquot{margin-left: 10%; margin-right: 10%;} + + .bbox {border: solid black 2px; margin-left: 10%; + margin-right: 10%;} + + .musicbox {border: solid black 2px;} + + .border img {border: 5px solid silver;} + + .center {text-align: center;} + .right {text-align: right;} + .smcap {font-variant: small-caps;} + .small {font-size: 75%;} + .u {text-decoration: underline;} + + .caption {text-align: center; font-weight: bold;} + + .cpoem {width: 40%; margin: 0 auto;} + .cpoems {width: 27%; margin: 0 auto;} + .cpoeml {width: 50%; margin: 0 auto;} + + .notes {background-color: #eeeeee; color: #000; padding: .5em; + margin-left: 10%; margin-right: 10%;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<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">Salammbô</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 & Company</span><br /> +(INCORPORATED)<br /> +<br /> +<i>All rights reserved</i><br /> +<br /> +Colonial Press<br /> +Electrotyped and Printed by C.H. Simonds & 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—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.</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—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.</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,—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—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,—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> </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">"Herbstgefühl</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 "Œdipus 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 Khayyám," 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 "Salammbô," 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> </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,—much +more encouragement than he gets, +too,—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,—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—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 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, <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,—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 reëstablishing 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—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. <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 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.</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 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.</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 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<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,—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 Carreño, 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>protégé</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,—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 +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.</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 +Æschylean <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,—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 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.</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—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,—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,—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,—"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 Dvôrák, +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 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. <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, +Dvôrák 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 +Dvôrák'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. +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 <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—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 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.</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—how +he thinks in it—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>—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,—the capacity for taking +infinite pains,—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 Böhme. +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—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.</p> + +<p>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 <i>Zuhören</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 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.<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">Herbstgefühl</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,—"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.</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,—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">Herbstgefühl</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">Herbstgefühl</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, "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 <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 +Brisé," the effective song "Mon Desire," +which in profile suggests Saint-Saëns' familiar <span class="pagenum"><a name="Page_109" id="Page_109">109</a></span> +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.</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—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.</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 +cortège, 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,—<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>klaviermässig</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 +Phœnix," 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 Dvôrák +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 "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 "<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 +opéra 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 pièce 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 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 <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 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, <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 Männerchor.</p> + +<p>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 <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,—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."</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 Élégante," 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, Pierné, 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 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.</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> +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.</p> + +<p>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 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 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.</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,—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—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 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 <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—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 début 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 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.</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 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, <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, "Phœbus, 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,—his setting of the +choruses of the "Œdipus 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,—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' "Œdipus 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 Œdipus, 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,—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 "Œdipus in Kolonos" begins strongly +with only one period of thirteen measures). +The opening chorus of Paine's "Œdipus" 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 <i>Volkslied</i>; both of them +imbued with a Teutonic flavor that could be +cut with a knife. In Mendelssohn's "Œdipus +in Kolonos," however, the music expresses +emotion rather than German emotion, and +abounds in splendors of harmony that are +strikingly Wagnerian—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 "ŒDIPUS 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 Œdipus 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.<span class="pagenum"><a name="Page_161" id="Page_161">161</a></span></p> + +<p>The sixth chorus shows the effect of +Œdipus' 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, Œdipus 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,—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 Händel'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,—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.</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,—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,—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 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.</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,—"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,—like Chopin's "Funeral +March,"—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,—"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.</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 & 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 +Händelian 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-Saëns.</p> + +<p>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.</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 +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.</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 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.<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 Rückert. 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 aufgeblüht" 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 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.<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 & 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 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. +<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,—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 & 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 "Mélodie" 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 "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 <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, "Phœnix 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 früh 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—you might say—<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>Männerchor</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—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.</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 & 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, 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.</p></div> + +<p>Tschaïkowski 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 phœnix 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 +"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.</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 +fête 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 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.</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 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 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,—all three,—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 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 <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,—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 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. <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 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.</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,—and conventionality +may be considered inevitable here,—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; "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 Sän<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 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. +<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 naïve 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,—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 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. +<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 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 + <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,—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-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."</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 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."</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—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."</p> + +<p>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.</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 +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.</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 Dvôrák 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—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 + <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,"—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,—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. "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.</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 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.</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,—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> +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.</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 "Concertstück," 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>récherchés</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 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.</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 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.</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 Khayyám</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 & Co.</b></span></p> + +<p class="cpoeml"><br /> +Oh! threats of Hell and hopes of Paradise!<br /> +One thing at least is certain—<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,—a thing for which any one +should be thanked on some considerations,—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, Dvôrák's Requiem Mass, +Gounod's "Mors et Vita," Liszt's Thirteenth +Psalm, Saint-Saëns' "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 "Phœnix 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 Dvôrák. 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> </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 & 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,—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 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.</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> +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.</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-schönen +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>klaviermässig</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 Dvôrák. +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 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 +<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 "Elégie," 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 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 + <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,—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.</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 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."</p> + +<p>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.</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 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. + <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 à 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-naïve +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 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.</p> + +<p>He can write <i>à 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 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.</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 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, + <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 "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.<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 & 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 "Schäferlied."</p> + +<p>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<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 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.</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">Salammbô</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 Löschorn, + <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 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 + <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, "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.</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 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<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 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." +</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,—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 +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.</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,—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,—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 Händelian <i>naïveté</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. +Carreño 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,—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>récherchés</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 & 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 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," + <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 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.</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,—<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, Aimé +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 /> +Æschylean 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, Adèle, <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 /> +Carreño, <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 /> +Dennée, 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 /> +Dvôrák, 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 /> +Féval, <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 /> +Gavaërt, <a href="#Page_426">426</a>.<br /> +<br /> +Gaynor, Mrs. Jessie L., <a href="#Page_441">441</a>.<br /> +<br /> +Genée, <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 /> +Händel 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, Amié, <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 /> +Löschorn, <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 /> +Nicodé, <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 Säengerbund, <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 /> +Pierné, <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 /> +"René 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 /> +Rivé-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 /> +Rückert, <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-Saëns, <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 Böhme, <a href="#Page_94">94</a>.<br /> +<br /> +Von Bülow, 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 + +*** END OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN COMPOSERS *** + +***** This file should be named 23800-h.htm or 23800-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/8/0/23800/ + +Produced by David Newman, Jeffrey Johnson, Suzanne Lybarger, +Linda Cantoni, and the Online Distributed Proofreading +Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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