History of American Music
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LIBRARY Brigham Young University
IN
MEMORY OF
George Fitzroy
_rv>..
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THE HISTORY OF
AMERICAN MUSIC
E|}c ^istoru of amrriran ^rt lEliitcb
fag
Jofjn (E.
Fan
10gk£
THE HISTORY OF AMERICAN SCULPTURE. RADO Taft, Member
of the National
With 12 photogravures and many
Sculpture
By LoSociety.
text illustrations.
Imp.
8vo.
THE HISTORY OF AMERICAN MUSIC.
By Louis
C.
Elson, Musical Editor of the Boston Advertiser ; author of
"Our many
National Music," text illustrations.
With 12 photogravures and
etc.
Imp. 8vo.
THE HISTORY OF AMERICAN PAINTING. ISHAM, Member of the Society of American 12 photogravures
and many
text illustrations.
By Samuel
Artists.
With
Imp. 8vo.
Nearly ready.
THE HISTORY OF AMERICAN ILLUSTRATION, ENGRAVING, AND ETCHING. By Joseph Pennell, author of " Pen Drawing and Pen Draughtsmen," " Lithog-
raphy
and
Lithographers,"
"
Modern
Illustrated with origmal materials.
Illustration,"
etc.
Imp. 8vo.
In preparation.
'
c^AMOl-rr
3TAJ^
3H0a03HT
PLATE
I
THEODORE THOMAS
t/lQ Cl^e i^ijstort of American ^tt
THE HISTORY OF
AMERICAN MUSIC no BY
LOUIS C ELSON
WITH TWELVE FULL-PAGE PHOTOGRAVURES AND ONE HUNDRED AND TWO ILLUSTRATIONS IN THE TEXT
Neb) lorfe
THE MACMILLAN COMPANY LONDON MACMILLAN & :
1904 All rights resej'ved
CO., Ltd.
Copyright, 1904,
By
the MACMILLAX COMPANY.
Set up, electrotyped, and published
Mnrch,
1904.
Novtoooti X^xtss
J.
S.
Gushing
&
Co.
— Berwick & Smith
Norwood, Man., U.S.A.
HAROLD B. LEE LIBRARY BRIGHAM YOUNG UNIVERSITY PROVO, UTAH
Co.
EDITOR'S NOTE This
series
of
books brings together
materials for a history of
American
for
the
time
first
the
Heretofore there have
art.
been attempts to narrate some special period or feature of our artistic
development, but the narrative has never been consecutive
or conclusive.
The
present volumes
and carry the record down
begin with colonial times,
They
to the year 1904.
are intended
to cover the graphic, the plastic, the illustrative, the architectural,
the musical, and the dramatic
department historically and
arts,
and
critically.
to recite the results in
each
That the opinions ventured
should be authoritative, the preparation of each volume has been placed in the hands of an expert,
whereof he writes. art written
from the
The
series
artist's
is
— one
who
practises the
therefore a history of
craft
American
point of view, and should have special
value for that reason.
In this
"
History of American Music," the second of the
series,
the author has told of the beginnings, the foreign influences, the
changes, the methods, the personal endeavors, that have gone to the
making
of
Many
our present music.
of the events
here nar-
rated occurred but yesterday or are happening to-day, and hence
have
little
perspective for the historian.
possible to say a final word, even
if
It
has not always been
that were desirable.
In
its
stead the widely scattered facts have been brought together and
arranged sequentially that they might their
own
conclusion.
February, 1904.
tell
their
own
story and point
CONTENTS CHAPTER I.
II.
PAGE
The Religious Beginnings of American Music Early Musical Organizations
....
I
27
III.
Instrumental Music and American Orchestras
41
IV.
Musical Societies and Institutions
11
Opera
95
V.
in
....
America
The Folk-music of America
123
National and Patriotic Music
140
American Tone-masters
165
The Orchestral Composers of America
191
X.
Other Orchestral Composers of America
215
XI.
Operatic, Cantata, and Vocal Composers
229
American Song-composers
243
VI. VII.
VIII.
IX.
XII.
....
XIII.
Organists, Choir and Chorus Leaders
XIV.
The American Composers for Pianoforte
279
American Women
293
XV. XVI. XVII. XVIII.
in
.
Music
Musical Criticism and Authorship
.
259
311
The Musical Education of the Present
339
Qualities and Defects of American Music
361
General Bibliography
367
Index
369
VH
PHOTOGRAVURES PLATE I.
Theodore Thomas
Frontispiece
.
FACING PAGE II.
Park Street Church, Boston
III.
Henry
IV.
William H. Frv
V. VI. VII. VIII.
IX.
X.
XI
Xn.
L.
Higginson
41
95
Edward Alexander MacDowell
165
Horatio Parker
191
Anton Seidl
.... .
George W. Chadwick King's Chapel, Boston
215
.
229
.
-43
Benjamin Johnson Lang Mrs. H. H. A. Beach
259 293
.
John K. Paine
339
IX
I
.
ILLUSTRATIONS IN TEXT
....
FIGURE
Mary's Tune
PAGE 2
1.
St.
2.
Title-page of "
3.
Page
of "
4.
Page from Dr. Thomas Walter's Singing-book
II
5.
Advertisement from Old Salem Newspaper
13
6.
Billings's " Chester "
7.
The
.....
14 17
8.
Advertisement from Boston Gazette, 1767
19
9.
Advertisement from Massachusetts Magazine
Bay Psalm Book"
Bay Psalm Book
Organ
Brattle
"
.
6
.
7
.
.
.
.
,
1
792
21
10.
Advertisement from Boston Chronicle, 1764
23
1 1
Advertisement from Salem Gazette,
29
12.
Symphony
13.
Home
14.
Carl
15.
Dr. Lowell
16.
Heading of an Early Musical Journal
44
17.
Jonas Chickering
47
18
Georg Henschel
51
19
Wilhelm Gericke
54
20
Arthur Nikisch
57
21
Emil Paur
60
22.
Walter Damrosch
63
23.
Fritz Scheel
72
24.
Theodore Thomas
25.
Dr. Leopold Damrosch
26.
The Germania
27.
The Mason-Thomas
28.
The
.... ..... .... .... .... .... .... ..... .... ..... ....
Hall.
790
Boston
Haydn
of Handel and
Zenahn
1
Society in 1850
Mason
.
Orchestra, 1850
Quintette
Kneisel Quartette
Stage of Metropolitan Opera House
30.
Bispham
31.
Mme.
32.
Emma Eames
33.
Louise
as
Wolfram
in
"Tannhauser"
Nordica
Homer
as Juliet
35
37
74 79 83
86 89
29.
Lillian
y:>
97 lOI
105 .
II
Amneris
115
34. Autograph of Anton Seidl
118
as
1
ILLUSTRATIONS IN TEXT
XI
PAGE
35-
Suzanne Adams as Marguerite
121
36.
Nineveh Flute
124
37.
March of
127
38.
Omaha Large
39.
Ojibway Drums
40.
Stephen C. Foster
41.
Liberty
42.
"'Yankee Doodle," Old English Setting
/a
43
c.
Flute
Song
140
.
.
"God save the King" American Setting of "God save the King" American Setting of " God save the King " " Washington's
44.
.
American Setting of
43 «.
43
Flute Priests
March
"
and
"
Yankee Doodl
144 145
146 147
149
45(7.
First Edition of " Hail
Columbia"
152
/a
First Edition of " Hail
Columbia"
153
45
Key
Francis Scott
46.
..... —
.56
AfTa.
"Star-spangled Banner"
English Drinking-song
158
\J
"Star-spangled Banner"
— English Drinking-song
159
b.
48.
" Glory Hallelujah "
.
.
49. Manuscript Music by Professor
.
J.
.
K. Paine
162
168
W. Chadwick
50.
Manuscript by George
51.
Josef Rheinberger
52.
Allen A.
53.
New England
54.
Arthur Foote
55.
Henry K. Hadley
56.
Manuscript by Van der Stucke
196
57.
Frederic Grant Gleason
2CO
58.
Louis Adolphe Coerne
204
59.
E. R. Kroeger
208
60.
Arthur Whiting
212
6r.
C.
62.
Louis Maas
63.
John
64.
J.
C. D. Parker
232
65.
H. M. Dunham
235
66.
Dudley Buck
239
M.
.....
Brown Room.
Boston Public Library
Conservatory of Music
184 188
.
.
Loeffler
P.
177 181
193
219 223
Sousa
226
.
C)-]
a.
Letter by Robert Franz
244
67
b.
Letter by Robert Franz
245
W.
Nevin
68.
Ethelbert
69.
Clayton Johns
251
70.
Frederic Field Bullard
253
71.
Augusto Rotoli
255
72.
Music Hall Organ, Boston
263
249
ILLUSTRATIONS IN TEXT
Xlll PACE
FIGURE
Jordan Hall. Boston
Ti-
Organ
74.
George E. Whiting
75.
J.
76.
Samuel P. Warren
"]•].
Clarence
78.
Dr. William
79.
Louis
80.
William H. Sherwood
81.
Carl
82.
Rafael JosefFy
290
83.
Miss Margaret R. Lang
296
84.
Mrs. Julia Rive-King
299
85.
Miss Leonora Jackson
303
86.
Mine. Camilla Urso
308
87.
John
88.
Henry T. Finck
89.
Henry E. Krehbiel
90.
William
91.
George
92.
W.
93.
Dr. Eben Tourjee
340
94.
Stephen A. Emery
342
95.
Julius
96.
Manuscript by Eichber
346
97.
Antonin Dvorak
.
349
98.
Frank Damrosch
.
99.
Philadelphia
in
268
Wallace Goodrich
270 '2.11
Eddy
275
Mason
278
M. Gottschalk
282 285
Baermann
S.
Dwight
J.
P.
S. B.
266
288
.
313
.
317 321
Henderson
3-4
Upton
329
.
Mathews
j3j
Eichberg
345
Academy
Fund
352 of Music
354
100.
Musical
loi.
Music Hall and College of Music, Cincinnati
360
102.
Frank Van der Stucken
363
Hall. Philadelphia
356
THE HISTORY OF AMERICAN MUSIC CHAPTER
I
THE RELIGIOUS BEGINNINGS OF AMERICAN MUSIC In presenting a history of the development of American music,
one ought, songs
if
of the
following chronological sequence, to speak
Aborigines
;
first of
the
but although these were, as a matter of
course, the earliest melodies that can be traced on this continent,
be found, when the subject
will
is
alluded to in a later chapter, that
the music of the North American Indians of the
The field
rigid,
responsible for very
is
"
no thoroughfare
true
"
as the ancient chants of China.
beginnings of American
— seeds
music
into a harvest of native compositions
— must
be sought itself,
narrow, and often commonplace psalm-singing of
may
It
lishmen
in
in a
— the
New Eng-
be admitted that there was a civilized music on these
shores that antedated even these psalm-tunes.
There were Eng-
Virginia almost a generation before the Pils^rims reached destination
cisatlantic
;
but
these
home-songs with absolutely no attempt their
that finally
almost as unpromising as that of the Indian music
land.
their
little
composition of later times, and seems to have been almost as
absolutely
grew
it
new surroundings
;
they
adventurers
to alter or to
made no
sang
their
modify them to
effort to establish
any new
and although they gave concerts long before the Pilgrims or Puritans (who would have school of music, either vocal or instrumental
deemed
"
concerts
holy strains in
"
New
;
a very heterodox thing) lifted
England, these were merely a reproduction of
similar events as they took place in England.
— abnormal things that took forth
no
The
fruit of
their voices in
no root
in
They were
American
soil
exotics
and brought
any kind.
far less artistic
music that was developed
in Puritan
Boston
THE HISTORY OF AMERICAN MUSIC
2
and Pilgrim Plymouth was something that, although it had its origin overseas, soon became indigenous to the soil, and altered gradually from the style of its prototype as, in the Middle Ages, the Gregorian chant altered
France and became the Caiitus
in
Gallicanus.
At the very start, both Pilgrims and on many points of doctrine, united in a views as regards the
"
divine art
distrust of music.
Calvin's
(he had grave doubts about
"
divinity) tinctured the earliest
music
orims would have abolished
all
it
Puritans, although differing
of
New
England.
The
its
Pil-
but for the fact that the ancient
Hebrews had undoubtedly employed psalm-singing in their religious They therefore, while rejecting hymns and other sacred services. music, allowed Psalms to be sung during their devotions.
Fic.
From
It is
Dr.
Thomas
Walter's
What
Mary's Tune.
Windsor," and
Puritans,
and
Boston, 1721.
they used but five tunes for their
first
"
of
them; "York" was another; "Hack-
Martyrs
"
were probably the other
"Hackney" was sometimes called The version used in singing the the
of Musick Explained."
these tunes were has not been clearly proven.
"Old Hundred "was one "
— St.
"Grounds and Rules
recorded that at the
psalmody.
ney,"
I.
in
"St. Mary's "(Fig.
i).
Psalms, both in Boston,
Plymouth, among the
three.
Pilgrims,
among
was that
;
THE RELIGIOUS BEGINNINGS OF AMERICAN MUSIC As was
arranged by Rev. Henry Ainsworth. the old Puritan versions of the Psalms,
The
it
fidelity.
Psalm may
clearly illustrate this " Showt to Jehovah,
:
—
:
him come with singing-mirth
Know
that
O
Jehovah he God
made
One Hundredth
the earth
all
before
" Its he that
all
followed the original with
Serve ye Jehovah with gladnes
is.
and not wee
us,
and sheep of
his folk
the case with
following example of the
painstaking
3
his feeding.
with confession enter yee
his gates, his cotirtyards with praising.
" Confesse to him, blesse ye his name.
Because Jehovah he good his
and
The book used by which
is
preserved
mercy ever his faith
is
unto
is
the
same
all
ages." 't)^
:
:
the Pilgrims w^as a neat duodecimo, a copy of
in
the Public Library of Boston.
tunes, wretchedly printed in very small
It
notes, but the
has a few
tunes
five
chosen by the early singers were probably sung without reference
Another version
to the notation.
Hopkins, was used
Ipswich, but in Boston
versions were soon
"
printed in the colonies (Fig. "
all
by Sternhold and
Bay Psalm Book,"' published in 1640 at CamMassachusetts, the first book (except a trivial Almanac)
superseded by the bridge,
in
of the Psalms,
The Psalmes
in
Metre
:
and Comfort of the
New
Its
2).
heading ran
—
Faithfully translated for the Use, Edification, Saints in publick
and
private,
especially in
England."
many
In the translation and setting to metre of these Psalms of the
most scholarly
and Welds
of
of the divines
-Roxbury, Mather of
The "Bay Psalm Book"
of the
colony assisted
Dorchester, and
many
Eliot
;
others
had reached its twenty-seventh American edition altogether it must have passed through more Prince than seventy editions. Many editions were published in England and in Scotland. says, in his preface to the version of 1758 "I found in England it was by some eminent Congregations prefer'd to all Others in their Publick Worship, even down to 1717, when I last left that Part of the British Kingdom." ^
exerted a wide and long-continued influence; by 1750 ;
:
it
4
THE HISTORY OF AMERICAN MUSIC
cooperated to
make
to
line (Fig.
3).
may
serve to
pay tribute
Although
to the fidelity to the sacred text in
following version of the Twenty-third
The show
reliable work.
occasionally provoke a smile, one
may
the style of the poetry
compelled
and
this a valuable
this "
The Lord
He
mee
to
a shepheard
is,
in the folds of tender grasse,
To
waters calm
Restore
my
he doth
in
for his
lie.
gently leads :
paths of righteousnes
:
name's sake leade mee. in valley of
walk, none
ill
Because thou
and
mee
to
soule doth hee
Yea though I
Psalm
shall not I
Doth cause me down
"
every
—
:
want therefore
"
is
staffe
I'll
feare
:
mee, thy rod,
art with
my
deaths shade
comfort are.
" Fore ine a table thou hast spread, in presence of
my
my
thou dost anoynt
my cup
it
foes
:
head with
oyle,
overflowes.
" Goodnes and mercy surely shall all
my
and
dayes follow mee
in the Lord's
house
:
I shall
dwelle
so long as dayes shall bee."
" Spiritual
Songs," that
is,
hymns, were not as yet admitted into
either Pilgrim or Puritan service, but a few appeared in the 1647
Bay Psalm Book." The musical repertoire had now extended far beyond the original " five tunes," and more than
edition of the
fifty
"
melodies were suggested,
Psalms.
The
setting
was the excellent one
published in England in 162 in
in this edition, for the
The
i.
unison, for the harmonization
reach of non-musicians. ^
known
to
Ravenscroft,'
first
tunes were undoubtedly sung
Ravenscroft was out of the
In accordance with the habit of his day
Besides the Ravenscroft settings
Piayford were
in
of
singing of the
it
many Americans
is
probable that the weaker arrangements of John
in the
seventeenth century.
—
L
THE RELIGIOUS BEGINNINGS OF AMERICAN MUSIC he carried his melody
in the
tenor part, as the following setting,
Old Hundred," by John Dowland, may show "
of
:
—
$^
Ravenscroft's volume,
in
-4--
^: -iS'-
--i--
—
:^:
-(5'-
-iS-
-&-
->-
-if
1
A
-I
:t:
ge
^1:2
o
con nioto.
•^^i5a
-I
-
y e-t a-k e-no fl-ge runs "
To-ta-yo-ni "
o
.^EEE= ge
1
-^1-
hon
ge
—
-I—
S==£ Ye!
yel
ye
ge
hel
ni
b'-
ye
ye
1
ye
I
ye
1
!
\-.
^1:^
-H-
hon
he
ni
r-
ge
I
ge
1
:Er
ge
hon
ni
he
ye!
ye
1
etc.
I
\yye
ye
1
The words
ye
I
are merely "
ye
1
ye
I
I
go " endlessly repeated.
I
Alle>rro violto.
•
-.-^
4-|
Ho •—
—
'^
•-
F— F biiF— \va
he
yas
.tz te
-
P=i= f—^^ tX-
ipz^p: ho
e
-
o
na yo
o
nui
i
ka
i
ho
:^:=if
yo
ri
-•
•-
shi
vi
^
:t— tt= tail
no
he
The words
are
—
:e^
-f
he
he
ye ye
^1
ye
p=p=:i^pc=pi:zj=:1: F F Sj-F r~F he
ye
-
— " Friends — Rocks, — always
e
he
firm.
ye
he ye
— Forward."
:d:
ye
iHig^ij ye
ye
ye
ye.
THE FOLK-MUSIC OF AMERICA Far more advanced
133
grown up around melody, emotion that we
the folk-song that has
is
Here we find can readily understand, and sometimes simple harmony, in fact all the elements that constitute the power of folk-music in the old Southern plantation
life.
—
world.
The
chief instrument of the plantation, the banjo,
more advanced than any instrument which we Indians.
It
may
not American at
is
it
by the
To
The African
life
his native land never
in
The
from African music, also
Many
of the
speaks
life
many
its
most melancholy is
removed
in different collections,
"Swing Low, Sweet Nobody knows de Trubble I've
"
Seen," as examples of the sorrow and religion combined
these,
camp-meeting songs are
of the
but their improvisational
feverish ecstasy,
and
this
less dignified
than
strong rhythm, their
their
style,
in
There
Barak, or that of Miriam, in the Scriptures.
analogy between the slave music
in
its
Deborah and is
a very close
religious phases
and the
Sometimes we find the sound held superior the sense, by the dusky singers, as when they give the refrain " Jews, screws, defidum " to one of these camp-meeting songs,
music of the of
back to
their strong dramatic action, carry us
a remote past, being strongly akin to the song of
to
gave
to the tenderness of
Chariot," or the plaintiveness of
Some
It
of the measures.
songs are easily accessible
and one need only allude
river, that
ecstatic religious vein, far
heard in
is
the plantation.
numbers, and as music
frequently the child of sorrow, the slave of these songs.
of
and the
of the cotton-field, the cabin,
birth to these expressive musical
some
distinctly a result of
is
brought forth anything akin to the songs
music.
this
reply that although the melodies have been brought forth
American surroundings.
in
find used
but African.
all,
by Africans, or Afro-Americans, the music
was the
much
also
has been charged, however, against the negro music
of the South, that
one
is
Bible.^
utterly unconscious of
crucified him,"
even when
illiterate,
Here, then, sesses
any
at 1
— but is
all.
the
original
these are after
state all
of
the
poetry,
—
"
Jews
only exceptions, the poetry,
being often earnest and genuine.
the true folk-song of the United States, It is
if
it
pos-
unfortunate that a pseudo-plantation school
See Elson's "Curiosities of Music," Chap.
II
;
"Hebrew Music."
THE HISTORY OF AMERICAN MUSIC
134
of composition has far that
been built upon
from the negro music
false vein to be derived " {i.e. "
time
ragged time
syncopation, but
dance as
is
"
of the South.
Rag-
is
the euphonious epithet applied to this
The
plantation music sometimes employs
"
temporary apparition.
and pushed so
Unluckily most people imagine this
has wearied many.
it
this foundation,
)
certainly does not suffer from such a St. Vitus's
it
portrayed in the compo3itions of this
modern
class.
This rubbish must be cleared away before a true use can be made of the plantation
music as a folk-song foundation.
There have, however, been some remarkable applications of the negro music in classical forms. Mr. G. W. Chadwick, in the Scherzo of his
second symphony, has made use of this native material, and
Antonin Dvorak has
chamber music upon
an entire symphony and considerable
built
has been elaborated as folk-song, with
It
it.
by Foster, who
a beautiful simplicity and directness,
folk-song genius of
America
as
Weber
is
as truly the
or Silcher have been of
Germany. Stephen Collins Foster (Fig.
came
to his
40),
although born
in
the North,
Southern instincts by inheritance, for his father emigrated to Lawrenceburg (now a district in the
city
of
Pittsburg,
Virginia.
Pennsylvania) from
In this town the boy
was born on a most appropriate date, July
4,
1826, the fiftieth
American independence, while a band was playing " The Star-spangled Banner" in the wooded anniversary
Fig. 39.
From
— OjiBWAY
" Report of
Drums.
Bureau of Ethnology.'
grounds
The
of
of his father's estate.
had been a prosperous merchant in Virginia, and was the most prominent citizen of the Pennsylvania town in which he father
subsequently
settled.^
His mother was Eliza Clayland Tomlinson,
a descendant of one of the oldest families of Maryland, the Claylands,
and
tastes. ^
The
was from her that Foster inherited There was something of foreign blood also it
his
named
in
honor of Captain Lawrence.
artistic
in Foster's veins,
senior Foster actually laid out Lawrenceburg, which he at
Fosterville, but afterwards
keen
first
intended to
call
THE FOLK-MUSIC OF AMERICA for his great-grandfather
who emigrated
was an Irishman, a
135
Londonderry,
citizen of
America early in the eighteenth century. The father was musical in some degree, playing upon the violin, but only The mother was poetic and of most refined in the family circle. to
and cultured nature. In 1840 Foster was sent to Athens (Pennsylvania) in
1
84 1 to Jefferson College, near his home.
cal taste
from childhood, teaching himself the
the works of such masters as
flageolet,
of his
and studying
He
Mozart and Weber.
untrammelled nature, and much
He
Academy, and He had shown musi-
knowledge was
was
of
an
self-acquired.
taught himself French and German, but he seems never to have
been
in
brilliant
out his
first
At Athens Academy he wrote
the schoolroom.
composition, a work for four
flutes, entitled
Waltz," and had the pleasure of hearing exercise of the school, the
In 1842 he published his
it
performed
composer playing the first
song,
"Open
first
the
"Tioga
at a public
flute himself.
thy Lattice, Love," in
which, contrary to his subsequent custom, the words were not by him-
He made
self.
burg, and this
Henry Kleber, a musician of Pittswithout becoming a regular teacher, helped him
a friend of Mr,
artist,
greatly by advice and by occasional correction of his manuscripts.
Foster had a group of five friends (including his brother), young
men, who met direction,
house twice a week to study singing under his
1845-46 he composed many excellent folk-songs among them "Oh, Susannah" and "Old Uncle Ned,"
and
for this club,
at his in
About this time a minstrel Oh, Susannah " was submitted to
both true types of plantation music. troupe came to Pittsburg, and
them
for
approval.
"
The song was performed
once won such a success that Foster decided to make of
composition his vocation.
and
publicly,
at
this
style
to
study
His friends desired him
composition thoroughly, and his family were willing that he should
do
so,
but he
knew how
and feared that
scientific
little
he had benefited by academic work,
study would only pervert his natural bent
in souCT-creation.
For a
little
while, at this period, he acted as
his brother at Cincinnati,
bookkeeper for
and was not only pursuing
his
work
in
music and languages unaided, but was also teaching himself drawing and painting as well. He attended many negro camp-meetings to
;
THE HISTORY OF AMERICAN MUSIC
Ic-6
study the style of singing
already intimated he wrote the words to
As
ested.
and
successful songs, his music,
"
My Old
"
about be
1
"
or
"
in
all.
chief
River," as "
most
of his
all
and spontaneous
as
of his works.
Massa's in de Cold, Cold Ground,"
Nellie Bly," and above
"
Suwannee
the
called
charms
inter-
most beautiful folk-songs we may men-
Kentucky Home,"
60 songs
as natural
is
of the great
of Foster's
Old Uncle Ned,"
Home,"
his poetry
forming one
As examples tion
which he had become deeply
in
is
it
all "
He
often called.
The Old Folks
American
The Old Folks
at
at
wrote
Home," which may
folk-song, sold very close
to
one
million copies, and appeared in dozens of different arrangements
composer received almost nothing
the
yet
Dreamer," published of all his
in
1864,
was Foster's
for
"
it.
The charm The same
work.
last
Beautiful
popular songs was their directness and pathos.
tender melancholy that one finds in the actual songs of the planta-
such as
tion,
"
Swing Low, Sweet
Trubble Fve Seen," in
will
"
My
Nobody knows de "
Massa's
Old Kentucky Home."
in all of these songs, the
is
"
be discovered in such a lament as
de Cold, Cold Ground," or
utmost simplicity
Chariot," or
The
harmonies seldom go
beyond the three chief chords, yet when one tries to imitate this simplicity it is found to be most difficult to acquire. Some of the greatest composers might try for
in vain.
it
more elaborate work Foster was not so successful. Such a love-song as " Come where my Love lies dreaming " shows fluency In
of melody, but
by no means compares
spontaneity which Ritter, in his
"
is
to
Music
in
be found
in
rank with the charming
the composer's other works.
in
America," while paying a touching tribute
memory, falls into the error of stating that Foster's " Ellen Bayne " (he misprints it " Ellen Boyne ") was the original melody of " John Brown's Body," and is, unfortunately, followed in to
Foster's
'
this
misstatement by other writers.
ing the same metrical structure as
same melody, and latter.
One can
" Willie,
"
"
Ellen Bayne," while possess-
Glory Hallelujah,"
is
not the
not nearly as good a marching tune as the
find a
much
closer resemblance
we have missed you
Hazeldean 1
is
"
"
between Foster's
and the old Scottish
"
Jock
than between these two songs.
Ritter also omits
all
mention of Foster's chief song, " The Old Folks
at
Home."
o'
THE FOLK-MUSIC OF AMERICA If
tion,
American folk-song writer had
the chief
and sweetest
of natures
;
He
by
its
intensity,
his
and
in
life,
bordered
memory
the
gentlest
composer he would rush
in
mother,
his
of
upon mania.
were about on a par with those
abilities
of
but he was too convivial and too easily
reverence for the
his
he idolized
was one
he
unhonored
lived
His love for his parents was pathetic
companions.
led
whom
died poor,
musical educa-
little
he possessed glorious poetical instincts.
and unrecognized, he
137
His business
Schubert, and like that
of
his
manuscript to the publisher almost
had
before the ink
Many
dried.
his
of
songs were, therefore, boilers "
nounced
"
pot-
most pro-
the
of
later
some
Yet
type.
publishers paid Foster larger
than greater com-
royalties
posers have received.
&
New
Co., of
him
York, sent
checks
thousands royalties,
Pond
aggregating
of
dollars,
during
one
for
part
of his career.
His
later
years
were,
however, most pathetic and painful.
1854,
Fig. 40.
Miss Jennie McDowell, a lady
The union was
character.
of
unfortunate
were growing upon him, and he was the build up a home.
A
however, not
for
hastened is
to
C. Foster.
total,
He
fine
of
Foster's irregular habits last
man
in the
world to
bound to ensue, which was, correspondence was kept up, and the wife Foster died there.
receiving a picture of his
with the mother.
;
good family and
separation was
New York when
told of his
street,
— Stephen
Foster married, in
little
A
pathetic incident
opened the envelope containing
and burst out weeping,
who
daughter, it,
lived
upon the
bitterly deploring the fate that pre-
vented him from living with those he loved, and
who
The New York days were Bohemian enough,
loved him.
in all conscience.
;
THE HISTORY OF AMERICAN MUSIC
138
was not unlike that
Foster's appearance
shabby
of a tramp,
during
much
of
cheap glazed cap, a scar upon his upper
coat, a
this
time
lip,
one would scarcely imagine this to be the chief folk-song com-
a
;
poser on this side of the Atlantic.
He that
had a great love
Poe was
He
his favorite poet.
of this author
and
for poetry,
from memory, and
it
not surprising to learn
is
could recite pages upon pages
his
declamation evinced a keen
He
appreciation of the subtleties of the works.
very different source of inspiration
he was always incited to com-
;
Broadway
position by a trip in one of the
up and down the great thoroughfare
ride
new melodies
vehicles, thinking of
amount
money
of
had another and
and would often
stages, in
one
as he journeyed.
received during these
that he
these
of
public
Spite of the
years, his
was a
hand-to-mouth existence, and he and his friend George Cooper, the poet, would often concoct a song in the morning,
sell
it
at noon,
and not be a penny the richer by night.
The end came House, one
He was
most inexpensive
of the
one night he
An
suddenly.
(while
fell
his
in
staying at the American
of
lodging-places, and there
room) and cut himself severely.
was severed, and he was too faint to summon assistance. By the time he was discovered he had lost so much blood that there was no hope of recovery. In the common ward of a New artery
York
hospital
was taken vented
days
to the
January
later,
was buried
buried 10,
he being at
had loved so
Unidentified
died.
at
morgue, but the speedy advent
being
its
occurred
genius
this
in
1864,
at that
the
potter's
field.
At
of
his
body
friends pre-
The
accident
and Foster's death took place three
He
time only thirty-three years old.
Pittsburg, beside the father and
dearly.
first,
his grave a
band played
mother "
whom
he
Come where my
—
dreaming" and "The Old Folks at Home," a most fitting requiem. His daughter was his only descendant. One cannot deny that Foster could have attained to higher paths in art, and that dissipation obscured his genius somewhat, in later years and yet one cannot help feeling the deepest sympathy with this
Love
lies
wild-brier rose of music,
growing
all
by
itself,
a product of the
soil,
not of the hot-house.
The
personality of Foster
was
attractive,
but not impressive
;
he
THE FOLK-MUSIC OF AMERICA was
of slight
form and under the middle height
the expression of his countenance was soft
and most expressive dark eyes
and a high forehead.
Had he been
been of a distinctly Southern type.
and kind-hearted of
;
his
39
manner and
shy and difiident
;
he had
most characteristic feature)
of taller stature,
He was
he would have
courageous, yet gentle,
in a superlative degree.
In thus raising the curtain
most typical
(his
1
all
will perceive that
upon the unhappy
American song-composers, we
life
of Foster, the
feel that
the reader
one may not here apply an ordinary standard
of
must be mute. It was said of Burns that " the light that led astray was light from Heaven," and surely this gentle, sensitive, and dif^dent nature caught something of the celestial gleam. The busy American life was not a pleasant environjudgment
ment
for
of the
;
that censure
such a poet.
He
Southern plantation,
pictures.
Foster's
is
the
should have lived the dreamy, lazy of
life
which he has given us such graphic
most pathetic story
of
American music,
the tale of a tortured and troubled career, extinguished in misery.
CHAPTER
VII
NATIONAL AND PATRIOTIC MUSIC
The "
patriotic
songs
of a nation,
those which are generally called
national anthems," are often closely intertwined with history, and
most frequently spring up spontaneously, in response to some urgent Very seldom is a national song deliberately thought out and need. created according to a preconceived plan, and
some other
the melodies borrowed from
r
In
.
FREEDOM we're rvr, n>r
r. r» r, r.
.
Bom.
^^^^^
Ep2€±p±
tune as Bull
that the
composed
of
JULY.
time various changes,
such as popular
wrote the words matter
not
so
and
—
^-._«.
Come
al!
ye Tons of fong, Pourthe
full
found along
simiiiElmiriil rSLlSLllZZT^-ZZ
E:IH-;l "'ftii:i"'zi:ii:~iE~^"-rJEi:'2:'~8[~
zzz4:£:
\
—
I
-II
Wf-
that
it
is
not certain
it
is
capable of exact
_«e..ft
^
!.-(*.-
.
.6.^»-.^.«,
Accord-
settlement.
Cum-
Dr.
mings's
!ll»_x
S3i=Ei
_
easily discovered,
to
—
^_j
airs
meet with.
are likely to
i^_
un-
has
it
dergone from time to
ing
to
There seems
words.
a
is
have performed upon a
air
Royal with the Latin
is
composed
of those
the composer
posed for the Chapel
Who
one
banquet given by the Merchant Tailors' Company
for the I,
is
145
book,
it
assuredly was not Ben In joyful ftrains;
some
Jonson, as
Beneath thefe weflern
fkies,
per-
sons have argued. " '
The
first
performance
song tioned
was for
public the
of
not
men-
nearly
a
Fig. 43(7.
Early American THE
century and a half after
Setting of
"God save
KiNc;."
Drury Lane Theatre A few weeks later a version of the song on September 30, 1745 in the form of a trio by Dr. Arne was sung at Covent Garden, and it was referred to as " An old anthem that was sung at St. James's Chapel for James II, when the Prince of Orange was landed." it
was written by
Bull.
This took place
at the
I
3
;
THE HISTORY OF AMERICAN MUSIC
146
'"That the tune belongs
The
pute by this writer.
Lully
tune from
born until
by the
shown beyond
is
not
The Dutch
ver-
Bull. "
MUSICAL MISCELLANY.
LuUy was
that
fact
years after the death of Dr.
five
'
iji
sion
in
1
— tp.yZI
j
J-^_T^^y r
:_ez:iE-:gSi-^^^-
:_3
j^.:^
There
new empire
rifCjBurfting withglad furprife
—J^-
763
is
the
to
anthem.
English were
several
versions
Jacobite See a
1
traced
plainly
—
hymn
the
of
printed ^S.E.^Z^—1
dis-
Bull merely took the
old charge that
disproved
is
England
to
of
the words, and in this fact
found
is
the
all
-
ground
tE\
ment of
for
the state-
that the tune
Scotch
origin.' "
is
^
As early as 1779 the melody was
iiiiiJE —
Z
adapted to American
•
use, a set of patriotic
-
verses
I
to
it
in
the
;s:
'^MMMWAi Ty
3
-
ran-nic chains.
IPili
iife^liegi
being
and
written
published
Penitsylvania
-
Packet of Philadelphia,
I
in that year.
-
later
:
Fourth
an
"
of
A
Ode
little
for the
July" was
Liberty with keen eye,
same tune, and became very pop-
Pierc'd the blue vaulted (ky,
ular
Fig. 431^.
set
to the
throughout
We
the
Rcfolv'd us free
country.
— Early
facsimile of this from
American Setting of "God save THE King."
give
a
the A7nerican Musical
Miscellany of tings to the
1798 (Figs. 43
same melody
^^^-
Fig. 52.
— The
Allen A. Brown Room, Boston Puulic Library.
The
The organ
largest musical collection in America.
named
upon the above hst, is an interOrgan concertos esting work, but not as practical as it might be. are rare, but the Frenchmen, Widor, St. Saens, and Guilmant, have managed to unite orchestra and organ without making a mesalliance. concerto,
last
Mr. Parker follows the Rheinberger solidity rather than the Gallic grace in this work.
He
banishes the woodwind as being too near the
become the The second movement shows much foils to his chief instrument. ingenuity, particularly in the introduction of some bizarre kettledrum organ
color,
and causes the harp and the solo
and the
effects,
Much
of
finale
is
violin to
again the display of the skilful contrapuntist.
Mr. Parker's work
is
music for musicians
;
his rather
somewhat undramatic, style can scarcely appeal strongly to the masses, which is a failing that leans to virtue's side. At his best he is a really great composer (least so, perhaps, in songs or piano ascetic,
—
pieces), loftier
but the copiousness of his writing hardly does justice to the
numbers
of his repertoire.
He
has received a most remarkable
1
THE HISTORY OF AMERICAN MUSIC
82
compliment for an American musician, the honorary degree Doc. from Cambridge University, England. Earnest, dramatic, passionate, and romantic,
MacDowell (PL V)
The
least strong.
is
most powerful
training of
of
Mus.
Edward Alexander
in just the field
MacDowell served
where Parker
is
to nourish just
those qualities which were to a certain degree innate, with the most
He was
fortunate results.
and
his best
reno.
many
To
born
in
New
and chief teacher was the
York, December
tropical
and
fiery
i8, 1861,
Teresa Car-
her he has dedicated his Second Piano Concerto.
other teachers contributed
He went
to
But
equip this most dashing of
and enrolled him^ self in the conservatory there, studying theory with Savard, and In 1879 he went to Wiesbaden, where he piano under Marmontel. Then to Frankfort, where Karl studied with Ehlert for a time. Heymann taught him piano and, best of all, Joachim Raff guided
American composers.
to Paris in 1876,
him in composition. This was the chief influence in the career of MacDowell, for Raff taught him routine work as no other could have done, and
it
was too
effeminacy into the
late for the elegant
vein of Raff to import
virile style of his pupil.
Possibly because the two were opposites in their natures they
became friends, and, through the influence of Raff, MacDowell became a prominent piano teacher in the conservatory at Darmstadt, when he was but twenty years of age. Liszt soon recognized the genius of the young American, and obtained a hearing for his first piano suite before the leading society of Germany. There followed three years of concert touring, and then, in 1884, MacDowell settled down to teaching in Wiesbaden. In 1888 he came to Boston, where he taught and composed, giving concerts occasionally, with great success. Princeton University soon conferred upon him the degree of Mus. Doc. and, in 1896, MacDowell was called to the chair of music in Columbia University, New York. Here he followed in the path which Paine had originated at Harvard and which Parker was treading at Yale. His work has been attended by the same success that we have described in connection with the two older universities. MacDowell is more radical than many of his contemporaries, but he is so well endowed with vigorous ideas that this becomes decidedly more of a virtue than a fault. Naturally the continental
AMERICAN TONE-MASTERS countries
Europe appreciate
of
EngHsh, the
which
of musical conservatism
On May
out.
works more keenly than the
his
having been educated
latter
is
183
in a rather precise school
only at present beginning to thaw
he made his appearance before the London
14, 1903,
Philharmonic Society, by invitation, playing his Second Concerto.
This work, dedicated
to
Teresa Carrefio, was played by her
at the
Crystal Palace popular concerts, three years before the composer
performed
some
familiar with "
London.^
in
it
The
Indian Suite."
of the
won
of
Before this England had become fairly
MacDowell's songs, and with his beautiful concerto, which
we value
as one of the best
composer's works (yet do not rank with the First Concerto),
a popular triumph under Dr. F. H. Cowen's direction, but
by the ears
set the critics
To
at once.
cause heated discussion
generally the proof of individuality in music, and the English
viewers could not grasp the boldness of
MacDowell
as they
it
is
re-
had
comprehended the counterpoint of Parker. Some found traces of Brahms in the concerto They might better have discovered indica!
tions of of
MacDowell's Scottish ancestry
Parsifal "
"
in
Others found touches
it.
others discovered Tschaikowsky.
;
The
utter lack of
unanimity of judgment showed that the reviewers were face
whom
with a modern
Yet MacDowell
to face
they could not fully comprehend. is
He
not iconoclastic.
has been trained too
thoroughly by Raff to become formless, but he applies the old forms with a
The
new
spirit
;
reviewers of
playing, and he
is
As
in this field.
he modernizes, and
is
far
removed from pedantry.
London were unanimous
in praise of
certainly in the very front rank of
his piano
American
a teacher, too, he has been an inspiration to
students, and this part of his
work has been
of great
artists
many
importance to
the development of piano playing in America.
But
it is
as one of the tone-masters of
America
that
stands forth most prominent in our musical history,
American composers who of classical
form
judgment
full
in
first
Europe.
of the value of
won It
MacDowell
— one
of those
recognition for American music is
no doubt too early
MacDowell's work.
Some
to give a
excellent
reviewers have gone, perhaps, to extreme lengths in their praise MacDowell's First Concerto has been heard in Amsterdam, Dresden, and a number of other European cities in fact, all of his large works have been heard in Europe. ^
;
1
THE HISTORY OF AMERICAN MUSIC
84
Henry T. Finck, in his "Songs and SongMacDowell with the very greatest of the world in
of his compositions. writers," places
his Lieder.
One may,
however, dissent from this opinion because,
even when the musical thought expressed
is
noble, the songs are
often instrumental rather than vocal in their spirit.
—
Contemporary American Composers," states An almost unanimous vote would grant him rank
in his " "
Rupert Hughes, :
Fig. 53.
greatest
of
— The
New England
as
the
Conservatory of Music.
American composers, while not
a few ballots
would
him as the best of living music writers." The French have a saying, " // liest plus lourci fardeau quun grand nom acquis trop tot!'' One must not forget Chadwick's Second Symphony and his fine overtures, Paine's " CEdipus " and "Azara," and Parker's " Hora Novissima," in passing judgment on the value of Mac Do well's works. Yet one can grow enthusiastic easily enough over the juiciness, the romance, the originality of this indicate
great composer.
He
is,
thank Heaven, not a cacophonist.
In the
AMERICAN TONE-MASTERS midst of
all
his
moods he necessary adjunct of modern
freedom of development and
does not turn to musical ugliness as a
composition
185
his
most
fiery
he does not strain for uncouth progressions, nor pur-
;
chase his originality at the expense of sanity.
To
He
us his
"
Indian Suite
" is
one
examples
of the best
of his art.
has built this orchestral work on actual Indian themes, but we
do not value
used are utterly un-
this proceeding, since the figures
famihar to ahuost every auditor, and do
suggest
not, of themselves,
anything national; the composer could evolve a hundred original figures, equally effective,
ment and
he wished
if
do
to
the treatment of these figures
is
We
another story.
here a poetic presentation of phases of Indian
anything ever evolved from
But the develop-
so.
life
that
is
equal to
this subject; and, as this life exists (or
has existed) nowhere but in America, this work becomes our
The composition
a double sense.
from the exquisite tenderness panoply
sition of the
of
One
warriors.
of
find
own
in
presents a wide scope of emotion,
of a " love-song
"
to the fierce expo-
war, with galloping of
horses and cries
can also pay tribute to MacDowell's scoring,
although he does not try to attain modern extremes here either
;
he
achieves the fitness that characterizes Tschaikowsky rather than the
extreme
difficulties
orchestral web.
and complexities which too often mar the modern
The
expressive tone-coloring of the dirge and the
powerful use of the woodwind
may
be referred to
in
movement of the suite our meaning. The welding to-
in the third
illustrating
gether of the piano with the orchestral forces, in the two concertos, is
further evidence of the ability of the composer in this direction.
One sometimes
finds
poems by Burns.
vocal works "
Were
I
^ :
MacDowell's Scottish
and he has won, perhaps,
fathers in his songs,
setting
evidence of
—
his best results in
Mr. Finck thus speaks of some of the
asked to name the two greatest living song- writers,
should say Edvard Grieg and Edward MacDowell. affinity
fore-
between these two composers,
Wagner
traceable,
There
is
no doubt,
I
a certain to
their
whose influence can be distinctly traced here and there in MacDowell's songs, but it is no more than a harmonic atmosphere which he Scotch ancestry.
Grieg and
1
are the only composers
"Songs and Song-writers,"
p. 238.
1
THE HISTORY OF AMERICAN MUSIC
86
breathes in spheres.
them.
.
.
.
common
with them
when he
gets into certain emotional
His ideas are always his own, and there are plenty MacDowell is undoubtedly a genius."
of
MacDowell is first among his contempoNot only has he composed some very graceful works in the
In piano composition raries.
smaller forms, but he has also written sonatas which have indicated
what the twentieth-century composers must do with the old form they wish to perpetuate
it.
MacDowell has succeeded
thus be seen that
It will
— orchestral
ferent directions,
if
in three dif-
composition, piano works, and songs.
Yet the future only can reveal what place this most individual of American composers is to occupy permanently. That it is to be a that much has been hio-h one there can be no manner of doubt ;
demonstrated already.
above spoken
criticisms
won
has fairly
music.
his
against the very contradictory English
of,
may
it
be stated that
Massenet, in
MacDowell's concerto with great enthusiasm.
Paris, speaks of
to
As
all
the important
An
European
He
and musicians
critics
First Concerto
anecdote connected with his
show how a great pianist and brother-composer appreEugen d' Albert, the noted pianist, had taken Macciated him. Dowell to one of Liszt's afternoon receptions in Weimar, at which the modest young American musician began, as the French
may
serve to
say, to " efface himself,"
according to his wont.
other things in view than
begged
MacDowell's self-effacement.
to perform to the assembled
at the pianoforte,
announced
that he
certo,
movement
of
would play something entirely
He
then proceeded
MacDowell's First Pianoforte Con-
which was received with enthusiastic acclamations, everybody
present
naturally
thinking
Liszt was especially delighted.
had
He was
company, and, seating himself
new, that existed as yet only in manuscript. to play the first
But d'Albert had
in a
the
composition must
When
composer
his
own.
the expressions of admiration
measure subsided, d'Albert quietly pointed
as the real
be
to
MacDowell
of the novelty.
minor one) on which one may disagree with MacDowell: he writes almost all of his expression and tempomarks in English. It is no affectation that causes most musicians There
is
one point
(a
(Wagner, Schumann, and Berlioz excepted) to use
Italian terms.
AMERICAN TONE-MASTERS
87
1
Music has become almost a universal language its written form (notation) is more wide-spread than any other. We must not localize ;
such a universal tongue by writing
its
By
signs in the vernacular.
priority of usage Italian should be the language attached to music.
Beethoven himself gave up the German language, year in this connection, and returned to the use of
A
sion and tempo-marks.
Mac Do well piano
after trying
it
one
Italian for expres-
work, for example,
could be understood in every European country
;
—
but his mark
—
would mean nothing to a dozen Slow and with much feeling" nations which would have comprehended ''Lento e con molto espres"
sione !
"
In his
"
Indian Suite
"
this is obviated
man, English, and French (with
Italian also
by the use
of Ger-
used for expression
marks), but his shorter works are not thus supplied. Inspiration
work.
"
poem.
Lancelot and Elaine "
Hamlet
and
"
direct from Shakespeare.
ent
is
not lacking in MacDowell's
Indeed, at one time he thought of taking up poetry instead
of music.
son's
drawn from the poets
— a species
of
"
" is
an orchestral outcome
Ophelia
Although
"
of
are two orchestral
Tenny-
poems
separate, they are interdepend-
Indeed, they remind one
Faust and Marguerite.
somewhat of this last-named pair as pictured in Liszt's symphony, for Hamlet has military passages contrasted with his moments of revery and sorrow, and Ophelia (like Gretchen she is chiefly pictured by muted violins) has much of foreboding and premonition. There is
also a transference of thematic material
of these
them a Indian Suite " and
movements
that gives
from one to the other
beautiful
unity.
It
is
a
work that, like the " the two piano concertos, grows stronger by repeated hearing. In selecting five names as the chief composers of this country, we must acknowledge the verdict but a temporary one, for there are other composers who have rivalled their work in this or that separate performance and there are important symphonies, operas, and chamber-music to be mentioned later in connection with other men and women. Our reasons for the selection are many. These five were the first to write worthy compositions in the classical ;
forms
in
America.
reputation. fields of
They were
They were
the
musical creation,
first
as,
the to
first to
achieve a transatlantic
win successes
in all the different
with the exception of Chopin,
all
the
THE HISTORY OF AMERICAN MUSIC
i88
And
names (up to the present time) have appeared far more frequently upon the programmes of our symphonic concerts than any others. Four of the
great masters of music have done.
five
have also been important factors
these five
in public
musical education,
Paine being the head of musical training at Harvard, Chadwick at the
Yale,
New England Conservatory of Music (Fig. 53), Parker at and Mac Do well at Columbia. The fifth man, Mr. Arthur
Foote, has employed his excellent abilities as a teacher only in a private capacity thus
Arthur Foote 5,
1853.
He
far.
(Fig. 54)
first
was born
Salem, Massachusetts, March
at
studied composition with Stephen A. Emery, in
Entering Harvard, he took
Boston. the
and graduated
course
classical
with the class of 1874, but remained to study
music
(before
the
A.M.
After
and obtained the degree
of
the leading
1875.
organ with
studied
American musicians, Foote became be seen later.
Church
the
of in
that
teaches
Foote.
here, in
Lang, who has educated many
J.
oro-anist
— Arthur
he
this
as will
Fig. 54.
work
for his
B.
held
was
chair
professorial
established), of
department
in Paine's
Boston,
and
piano
in
ever
post
Unitarian
First
1878, and has
He
since.
composition
in
Boston.
Foote has
little
dramatic force which one finds in the
of that
Chadwick and MacDowell; he charms rather by grace and ease and by his easy leading of voices in contrapuntal pasNaturally therefore, in such a work as " The Wreck of sages.
works
of
the Hesperus," he his suite for
orchestra, in ful,
must
D
— even not
On
short of one's ideal.
orchestra in
poser of this form
This suite
falls
D
be
major (Op.
minor (Op.
36) he
Franz Lachner,
its
confounded with 21).
The
symmetrical, and well-constructed,
last is
the contrary, in
equals any com-
modern progenitor.
his
suite
for
string
named, although grace-
not to be compared with
AMERICAN TONE-MASTERS the greater suite, which
D
minor
for full
is
suite, piccolo,
— very
full
189
— orchestra.
In the
English horn, trombones, tuba, triangle,
and harp appear, over and above the regular forces, and the large orchestra is handled with an ease and beauty that is very attractive.
The work has been given more than once by
the Boston
Symphony
Orchestra, and ought to take high rank in the standard repertoire of native orchestral compositions.
The dramatic
cantatas are less inspired.
Wreck
"
In the
of the
Hesperus," for example, the chorus repeat the unimportant words, "
The Hesperus,"
in contrapuntal
manner
dramatic effect
until the
In another similarly vigorous topic, the " Skeleton
is
entirely lost.
in
Armor," we find the same
terse directness
The
required.
is
display of counterpoint where
fault, a
sentiments of the viking
once
(at
suggesting a baritone or tenor robusto solo) are given to chorus and
There
quartette.
phant
"
is
not an iota of difference between the trium-
Skoal to the Northland
the Tale
Ended
The
!
"
"
!
Skoal
"
and the prosaic
!
Crew "
Corsair's
are too suave and well
bred for actual sea-rovers, and the hero himself
The
and gentlemanly viking.
Thus
"
is
a contrapuntal
other excellent contrapuntist, Horatio
met with similar musical shipwreck upon the Arctic seas his orchestral " Northern Song." Foote's string quartette (Op. 4) and his piano quintette (Op. 36)
Parker, in
have both Quartette
been performed with
and
other
folk-song element that
Rimini," held
string
great
success
The
organizations.
by some to be
greatest work,
his
vincing to us as the above-mentioned suite
it
;
the anguished tale which Tschaikowsky and well.
His overture,
pianoforte trio in in
England,
this
Monday popular
"
In
His
especially effective.
is
the Mountains,"
C minor
and other
has
won
of his
is
is
Kneisel has
a
Francesca
di
latter " is
not as
con-
too reserved for
Liszt
have
a fine work,
told
and
so his
success both in America and
works having been played
concerts in London.
success with his songs, and such
by the
He
has also
at the
won decided
Shakespearian settings as
" It
was a Lover and his Lass," and " When Icicles hang by the Wall," are most singable and interpret the poems perfectly. His Irish Folk-song " is a gem in its way, and deserves its great *'
popularity.
THE HISTORY OF AMERICAN MUSIC
190
Among
Foote's larger works of especial
a sonata for violin and piano (Op. 20,
played
(Op.
successfully in
25),
societies.
England, a serenade for string orchestra
and a remarkably
nostra plena
Bellis,"
G
power we may mention minor) which has been
skilful
motet for mixed chorus, "Vita
which has been sung by our chief choral
All together Mr. Foote
is
a conservative
composer who never has written anything
trivial
and
classical
or unworthy.
PLATE
VI
HORATIO PARKER
IV
aTAJ'=l
f
;
CHAPTER
IX
THE ORCHESTRAL COMPOSERS OF AMERICA
many well-known names which
In classifying the
follow, there
has been an endeavor to give prominence to the chief feature of
work of each composer. Thus, for examples, although Dudley Buck has won laurels in organ composition, and has written an orchestral overture, yet his fame rests chiefly upon his cantatas, the
and he
will
be spoken of in the chapter devoted to such forms
Walter Damrosch has composed
in
almost every branch of music,
yet his most prominent composition has been an operatic one, and
we
shall
speak of his other works in connection with that school of
Almost
creation.
more or
all
American composers
of the
work, but the
less orchestral
men now
review have achieved their chief laurels in this
Henry K. Hadley chusetts,
in
1
(Fig.
87 1, and
is
was born
55)
one
of
most
in
Somerville and
studied
after
is
to
W.
be passed in
field.
Massa-
His father was a present one of
at
instruction of
music from
the
of that city.
his
father,
Boston, counterpoint
Chadwick, and
violin with Charles
Under Mr. Chad wick's guidance he advanced
N. Allen.
enough
some
harmony with Stephen A. Emery,
and composition with George
to
the youngest of the American
efficient of instructors in the public school
The younger Hadley,
rank have done
Somerville,
in
composers who are attempting the large forms.
prominent musician
of
far
complete an orchestral overture and a string quartette,
before he was twenty-one years of age.
At
twenty-three he went to
Vienna and studied further with Mandyczewski, and here he wrote several orchestral works, including an excellent suite his third work
—
Garden City, Long Island, teaching in the same school (St. Paul's) in which that other famous young American musician, Horatio Parker, had begun in this form.
In 1896 he was again in America, at
his class-teaching career. 191
THE HISTORY OF AMERICAN MUSIC
192
He now
entered
phonies which are
the symphonic
into
and powerful
virile
field,
The
high degree.
a
in
writing two sym-
means a great deal, and that conductor produced a Hadley symphony a year before his death. His Third Suite also had the honor of performance by the Ameristamp
of Seidl's approval
Symphony
can
certainly
Orchestra,
number
heroic overture, a cantata, and a
young composer
is
music
discords that
an over-swollen orchestra
much The name of Van
can,
have
and the wearer
mother's
songs indicate that the
One may pay
side),
freedom from morbidness
of
is
Wagner all
the
capable of producing.
Hadley's First Symphony, this com-
to say in
America's music in the near future.
der Stucken scarcely indicates an Ameri-
of
it
is
of
Belgian descent (German on his
yet Frank van der Stucken (Fig. 102) was born in
Fredericksburg, Gillespie County, Texas, October of the fact that in this
the sin-
the rules of Richter and using
Judging by the heartiness to
a
Roi, and do not express the slightest emo-
le
tion without breaking all
is
its
march,
our music nowadays, and some of the imitators of
are phis royaliste que
poser
in
festival
There are too many Mrs. Gummidges
and excessive dissonances. in
of
at present very active.
cerest tribute to Hadley's
abroad
A
under Franko.
much
country to
15,
In spite
1858.
was spent abroad, he has worked such good purpose that he certainly ought to be of his life
classed with Americans, according to his birthright.
was a captain of Texas the Civil War, who went
cavalry, in the to
Europe
The
father
Confederate army during
after the defeat of the
Southern
Antwerp the son studied under Peter Benoit, and he lived in Europe from 1866 until 1884. The thoroughness of his compositions may be judged by some of the honors that were paid him during his European career. He became Kapellmeister of the Stadt Theatre of Breslau in Antwerp his music was sung in the
cause.
In
;
churches and a ballet performed siastically
of his songs;
gave a concert
of
his
in the theatre
Liszt, in
1883,
own compositions
he was invited to give a similar concert
;
Grieg wrote enthu-
was
his sponsor
in
Weimar, and
in
when he in
1891
Antwerp.
was in 1884 that Van der Stucken became conductor of the Arion Male Chorus of New York. In 1892 he took this society on a tour through Europe, showing the foreign critics something of the It
THE ORCHESTRAL COMPOSERS OF AMERICA among
standard of vocal execution
193
organizations in this country.
He conducted novelty concerts and other symphonic concerts in New York, 1885-88, and was the first orchestral conductor to give made up
a concert entirely
most judicious thing
of "
in the
American compositions
world to do, with
the world from which to choose.
all
What was
"
— not
the
the repertoire of
far better
than
this,
he frequently placed American compositions on his regular pro-
grammes, when our composers stood the the masters of the old world. theless
it
must stand
he gave a concert
of
test of
comparison with
Never-
to his credit that
American compo-
sitions at the Paris Exposition of 1889,
and several other exclusively American concerts in different
From work
1
89 1
for the
cities.
1894 he did good
to
German male choruses
America, establishing
festivals
and
training large masses of
singers.
In
in
1895 he became conductor of the Cin-
Symphony
cinnati
Orchestra, and
in
1897 dean of the Cincinnati College of Music, retiring in
from the
Therefore
1903.
composer
that
Van
it
is
latter post
not only as
Fig. 55.
— Henry
K. Hadley.
der Stucken de-
serves notice, but as conductor, teacher, and propagandist as well.
As
orchestral writer
Van
der Stucken
is
decidedly modern.
deals with an orchestra of the largest proportions, and
scores (the revision of the for
symphonic prologue,
prologue entitled
"
His
Ratcliffe,"
only one composer
highly spiced
effects
M.
of
Loeffler,
Van
who can from
whom
equal the
On American skill
in
Han-
soil
there
Ratcliffe," a
with which he draws
the ultra-modern orchestra,
— Charles
hereafter.
der Stucken's breadth of treatment
William O
—
work, a symphonic
latest
Pax Triumphans," has been performed
over and Brunswick with great success.
"
William
of his
example) are as complex and as highly colored as even the
Richard Strauss phantasmagoria.
is
"
some
He
is
well
shown
in his
symphonic prologue, which represents the
"
THE HISTORY OF AMERICAN MUSIC
1^4
composer is
most modern guise. Heine's tragedy, on which this lugubrious enough to require a Tschaikowsky in its
in his
founded,
is
In the play
darker moods. Betty dies of
McGregor
grief, Ratcliffe kills
Edward
kills
Ratcliffe, Fair
hand of Maria, McGregor, Maria,
two suitors
for the
and winds up the cheerful proceedings by killing and himself. Two ghosts also appear at intervals to add to the Here is the orchestra employed by the comblitheness of the plot. poser: piccolo, two flutes, two oboes, two English horns, two clarinets, a bass clarinet, two bassoons, a double bassoon, four horns, two two trumpets, three trombones, a bass
cornets,
tuba, a pair of kettle-
drums, triangle, a snare-drum, cymbals, a bass drum, gong, two
bells,
two harps, a pianoforte, and the usual forces of stringed instruments. Add to this that the composer blends cornets and trumpets, a la Berlioz, that
does this
he employs a bass-drum
Wagner,
la
Verdi (and Berlioz
many
that "fff " occurs
once, and the reader will readily
we
a
that there are guiding motives as definite
also),
freely used as in
ern
trill,
comprehend
that
and as
times and it
is
"ffff
with a mod-
are here dealing.
Van
der Stucken has not attempted Scottish local color in this
Only one to the manner born can achieve the Scottish lilt; perhaps MacDowell, of all American Even composers, does it best, because of his Scottish ancestry. the German composers, Beethoven, Schumann, Bruch, and Franz,
work, and here he has been wise.
have
failed
to catch
stumbled over
it,
the Scottish style, and the lesser
although Mendelssohn proved that a foreigner
could succeed in attaining
Van
men have
it.
der Stucken gives a dignified picture of tragedy rather than
a local sketch
;
especial dialect.
ghosts are ghosts the world over, and speak no
Although the work
is
continuous, he has at least
outlined the character of the four-movement symphony, each division,
however, being very freely treated.
It
is
programme music
(instrumental music telling a definite story) from
has
its
printed
synopsis.
Love
idyl,
destroyed
first
to last,
and
happiness, catas-
trophe, lament, William's sorrows, the ghosts, another catastrophe, retrospects,
and general lamentations,
tions depicted in this
sombre
tale.
— these are a few
Not every one
will
of the
emo-
sympathize
either with the subject or the ultra-modern treatment, but all will
THE ORCHESTRAL COMPOSERS OF AMERICA
195
unite in tribute to the composer's orchestral skill and to the grandeur of his climaxes.
We
Van
have spoken of
der Stucken as the pupil of Benoit
he had some guidance from Reinecke, Grieg, and Langer.
;
but
It
was
not from these, however, that he gained his brilliancy of scoring
employment of guiding motives it was probably from Liszt, whose works he studied and with whom he was thrown in contact Before this time he is somewhat more conservfor a short period. ative, and, to our thinking, more beautiful. His music to Shakespeare's " Tempest," for example, which he wrote in Breslau before the Liszt-Grieg epoch, is a fine work of which any composer might and
his
;
be proud. In his songs (Fig. 56)
Van
der Stucken
working up great climaxes with much conservative rules.
ence
of Cincinnati,
which
it
composer
lost
is
at present the
and
is
restoring to the city
West, and one
But Chicago has also had
we
find a
thorough
New
dominating musical
some
of the foremost in
its
all
influ-
of the prestige
He
Chicago.
to
modern,
also very
yet in defiance of
He
when Thomas went
in the
skill,
is
is
the chief
America.
orchestral composer, and again
Englander achieving high rank
in
com-
Frederic Grant Gleason (Fig. 57) was born in Middle-
position.
town, Connecticut,
December
18,
1848,
and
his first studies
were
made with Dudley Buck, in Hartford, Connecticut, to which city his parents moved when Gleason was five years old. In 1869 he went to Germany to study in the higher branches of music. He studied in Berlin (not at the Hoch-Schiile, as
sometimes stated)
is
with Oscar Raif, C. F. Weitzmann, Albert Loeschhorn, and August
Haupt, being a private pupil at the
Lobe.
He
of these celebrities.
also studied
Leipsic Conservatory under Moscheles, Plaidy, Richter, and
Returning
to
America, Gleason became organist
of differ-
was appointed teacher the Hershey School in
ent churches in Connecticut until, in 1877, he of piano, composition,
Chicago.
From
and orchestration
that time on he
at
was a prominent pioneer
in the
cause of good music in the West.
With Mr. Gleason we again of the
American
in music.
find an
example
He became famous
he also did yeoman service as a musical
critic,
of the versatility
as a composer, but
being musical editor
;
THE HISTORY OF AMERICAN MUSIC
196
He
Chicago Tribune from 1884 to 1889.
of the
fluence as a teacher from 1877,
when he was
exerted great
in the
in-
Hershey School,
and he was the director of a Chicago conservatory until nearly the day of his death. He was a member of the New York Manuscript Society, almost from
organization
its
;
he was
first
president of the
Chicago Manuscript Society (these are societies for the encouragement of the American composer), and at the time of his death was again
president, having been elected by a
its
Gleason died
in
Chicago,
The compositions
of
December
6,
unanimous
Mr.
vote.
1903.
Gleason are many
of
them
in the largest
iUm&Jt^j Cjy^Jw^i^^
U^ -
w
aX-
o^'yfit ^j^dti^
-zvo-v
^m
I
I
Ko-c
r
.i-
1)?
(^^
J r
f
^t
r
i^^^ — Manuscript
Fig. 56.
forms
:
a grand opera,
been performed
The The Song of
a cantata, "
"
is
Leipsic
in
Fay
Culprit Life
for the instrument,
He
Otho
"
"
;
by
Van per Stucken.
Visconti," of which the overture has
another grand opera,
;
"
;
"
Montezuma "
two symphonic poems,
"
Edris
"
and
important organ works, including a sonata
and many other choral and instrumental works.
also the author of the text of his
two operas.
In addition,
he composed a symphonic cantata for the opening of the Auditorium in Chicago.
The
quality of his
work can
Theodore Thomas, who composer, has directed
is
best be judged by the fact that
not given to flattering the American
many
of Gleason's compositions.
Thus,
at
"
;
THE ORCHESTRAL COMPOSERS OF AMERICA the World's Fair at Chicago, the prelude to
197
Otho Visconti
"
"
was
the procession of the " Holy by the Thomas Orchestra a richly scored work, and the symphonic poem " Edris
given
;
Grail,"
have also been performed by the same organization
The Song
"
concerts.
upon
dwells
burne)
—
:
"
of
the dark
They have
of
the night,
bears
life,
who
Chicago
composition which
Life," rather a tragic
side
in its
motto (from Swin-
the
had, Hke us, the day
We, whom the day binds, shall have night as they; We, from the fetters of the light unbound. Healed of our wound of living, shall sleep sound."
This work was given by Thomas, November Mr. Gleason was decidedly a modern
30, 1900, in
Chicago.
he used the leit-motif
;
operas and in his cantatas, was fond of the most extensive
in his
orchestral effects, and cared
He was
more
not very strict in his part-writing,
without always getting a powerful his orchestration
and
mere melody. and broke harmonic laws but he was often noble in
for breadth than for
result,
poetic, rather
than dramatic,
in
his operatic
work.
There
is
another American
who may be mentioned
an
as
composer
orchestral
in
Chicago,
Henry
important contemporary.
Schoenefeld was born in Milwaukee, October
1857.
4,
His father
was a musician and taught the boy until his seventeenth year, when he went to Leipsic and became the pupil of Reinecke, Papand
peritz,
He won
others.
a composition prize there, for a choral
and orchestral work, which was brought out
at the
young Schoenefeld Lassen at Weimar.
to
in
directing.
Germania), and a
he
is
Subsequently a year was spent with
In 1879 he
came back
now a conductor of teacher. At the moment
Chicago, where he
GewandJiaus, the
is
America and
settled
a large male chorus (the of this writing,
however,
resident in Berlin, where several of his works are being pro-
duced.
The and
his hearty
definite this
chief claim of Schoenefeld
Americanism.
American melody
He
is
his clear
and unaffected
has from the
into classical music,
he has used exactly the means
that
first tried to
and
style
bring
to accomplish
Dvorak suggested, a
THE HISTORY OF AMERICAN MUSIC
198
development
discovery.
This use
color
a
itself.
music, but, like Chadwick, he did this
made the movement that is
Dvoi-ak
before
has
of plantation
of
local
Schoenefeld's suite (Op. 15) distinctly plantation as the banjo
as
was increased
after the
Bohemian
composer had set our concert audiences hunting negro melodies, and in an overture entitled " The Sunny South," Schoenefeld became very frankly American. Dvorak was strongly attracted toward this young composer, and complimented him highly when
his " Rural
Symphony " won
$500 offered by the National Conservatory, of which Nor was this the only prize that Dvorak was then director. In 1899 he won Marteau's award for the Schoenefeld captured.
the prize of
and piano, with some of the first In this work again our musicians of France serving on the jury. American took his cue from the banjo and sent a new music to
American sonata
best
Notwithstanding the foreign performances
Europe. feld's
for violin
of
Schoene-
num-
works, notwithstanding the prizes won, the orchestral
bers have not yet been printed.
demand
for large
There
unfortunately, no public
is,
works among us that can impel a publisher
take the risk of adding to the scanty printed repertoire of
to
American
orchestral music.
Turning again composers
New
in
East we find a colony of young American
to the
York, and some of them dauntlessly writing
Henry Holden Huss
orchestral works.
is
one
of the leaders of this
band, and one of those Americans whose compositions have an
He was
international repute. Jersey.
His
father,
studies.
Otis
B. Boise
and composition.
an
In
born June
esteemed
was 1883
21, 1862, in
musician,
directed
his
early
harmony, counterpoint,
his teacher of
Huss went
New
Newark,
to
Munich where
at
the
Royal Music School he was a fellow-student with Horatio Parker and Arthur Whiting, under Rheinberger. He has inherited some of that
the
composer's love of form, and he does not break away from
highway
nance.
of
Several
Munich during
music and scratch through the brambles of dissoof
his
compositions were performed publicly in
his stay at the school, and, at his graduation, he
played the solo part in his rhapsody in orchestra.
This work
at
C
major, for piano and
once achieved success, and immediately
THE ORCHESTRAL COMPOSERS OF AMERICA Huss's return to America
199
was brought out by the Boston Symphony Orchestra. With this same orchestra he played his " Piano Concerto," in 1894, under Mr. Emil Paur. The work was played again at these concerts by Adele Aus der Ohe (to whom it is dedicated), in 1903, and has been performed in many other cities
after
with great success. the cadenza of the
It
first
is
it
well within the lines of form, although
movement does not come
the centre, and the development
is
very
skilful.
"Ave Maria "for
Mr. Huss has written an
at the end, but in
female chorus,
soli,
and harp, which has been performed under Thomas, Lang, and other famous leaders. A trio
string orchestra, organ,
the direction of in
D
minor
Andante and Polonaise
at the of
"
at
many
Kneisel quartette.
His
and piano) has been given
concerts, including those of the
classical "
(violin, violoncello,
for violin
and orchestra has been heard
Trocadero, in Paris, and Raoul Pugno has performed several
Again
Mr. Huss's piano compositions abroad.
it
possible to
is
young American composer for the avoidance of radical Mr. Huss is sometimes too extended in developing extremes. figures, but he is always in good form, melodic even in his It is probable Diirchfuhrung, and he works up his climaxes well. praise a
that with greater simplicity, with less ingenuity of figure treatment,
composer would be yet more attractive, are sometimes hidden by his learning.
for his
this
Another Shelley,
He
who was
studied at
New York born at New
the
of
of the
fourteen years of age.
Center Church,
in Paris
in
Max
New
Haven, when only
Vogrich, and Dvorak.
and London, but the larger part
education was achieved on American
cal
Harry Rowe
is
New
Subsequently, he was for a long time in
York, under Dudley Buck,
some
gifts
Haven, Connecticut, June 8, 1858. Yale University, under Professor Gustav J. Stoeckel,
and was organist
studied
composers
set of
melodic
New
soil.
He
of his
also
musi-
At twenty he was
Haven, and three years
later
he became musical director of Dr. Storrs's Church in Brooklyn.
He
organist of the First Church, in
has since then been organist at the Fifth
Avenue
Shelley has written two symphonies, the
been performed also
in
New York
in
first,
Baptist Church. in
E
1897, a violin concerto
flat,
having
which has
been heard in various concerts, a cantata, and an opera.
He
THE HISTORY OF AMERICAN MUSIC
200 has
essayed
orchestra
is
about
one
his
of
in
the
He
piano and
for
His
works.
atmosphere
the
in
room.
concert
His fantasia
forms.
most successful
more
however, been passed than
the
all
has,
life
church music
of
very graceful in the smaller
is
forms, and his organ music deserves special mention.
Another classicist
and
New York composer who radical,
who
classical form, is Silas
Vermont, August pursuits, but he
4,
is
seeks to reconcile extreme popularity and
He was
Gamaliel Pratt.
born in Addison,
His youth was devoted
1846.
employed
a quaint combination of
all
of his spare
moments
to
commercial
in musical study.
His boyhood and youth were spent as a clerk with different musical
His musical career practically began
firms in Chicago. two,
when he gave
diately thereafter,
he was
in Berlin,
at twenty-
a series of piano recitals, in Chicago, and,
went abroad
for further musical study.
imme-
In 1868
studying piano with Bendel and Kullak, and com-
Wuerst and
position with
Like
Kiehl.
Schumann, he studied too assiduously at the piano and achieved the same result,
—a
lame
with the
wrist,
performed in to his
native heath.
place for
him
But Chicago,
Fig. 57.
— Frederic
Grant
Gleason.
return
home
it
was by no means the a musician to thrive, and Mr.
was forced back into the to a
just
fire,
selling of
music, and obliged to leave the of
into
Some of his works were Germany before he returned
after the great
Pratt
Germ.an, sent
great
composition.
which, as was the case
more favorable
he was again
in
reading with
Heinrich
time.
making In 1875
Berlin, studying
Dorn.
score-
On
his
he stopped in London, and was able to direct two of
his compositions
in the
Alexandra Palace, in London.
After his
work on his opera, " Zenobia." There never was a better example of the irrepressible Yankee in music than Mr. Pratt at this time. A hundred schemes seemed to form in his mind simultaneously. Large musical events and great musical compositions, many of them intensely patriotic and
return he began
1
THE ORCHESTRAL COMPOSERS OF AMERICA of the " spread-eagle " order,
even
Had
were planned.
20
Mr. Pratt not
had the advantage of a good European musical training, he might have been a second Gilmore, but, fortunately, his classical studies kept his aggressive Americanism somewhat in check, and his work ofrew better
and
When
better. "
the bombast
eliminated from
is
good technique and worthy music, and in the less magniloquent works Mr. Pratt is He has achieved something in all of the large often very effective.
some
of his " patriotic
A
musical forms.
works, there
is
a residue of
partial list of his compositions presents operas,
The Last Inca " and " The Triumph of Columbus," although the latter may be called a patriotic opera three symphonies, one of which is entitled " The Prodigal "
Zenobia
"
and
"
Lucille
"
;
cantatas, "
;
Son
"
a
;
grand centennial overture
Revere's ride;
"The
;
an orchestral work on Paul
Manila"; an anniversary overture
Battle of
on the centennial of American Independence called tra
Homage
"
to
Chicago
"
;
which have been successful
most
of
;
a brilliant
march
several shorter pieces for the orches;
and over
fifty
which are practical and pleasing.
energy has caused him to direct several
pieces for the piano,
Mr.
of these
Pratt's
works
in
restless
London,
Amsterdam, Berlin. He is at present director of the West End School of Music in New York. Had this composer been less ambitious, he would have achieved more yet he has won his triumphs, and stands as an example of American energy and pluck. And now we come to the opposite type, the quiet musician who composes without any effort to astonish the world, a faithful slave to the tyrant Frau Musica, asking no reward but the privilege of laying his offerings upon her altar. Too few musical readers, in the earliest years of the twentieth century, have heard of Louis Adolphe Coerne (Fig. 58). This is an oversight that later years must rectify. He has written a host of works in almost every musical form, and is a poetic as well as a prolific writer. He was born in Newark, New Jersey (the city which also claims Henry Holden Huss as its citizen), February 27, 1870, and therefore is among the youngest of the American composers in the large musical forms. Like Pratt, he ;
has also written a
"
Zenobia," a grand opera, which serves to suggest
that the story of the for the
Queen
of
Palmyra has considerable
American operatic composer.
attraction
THE HISTORY OF AMERICAN MUSIC
202
The
father of Coerne
and Swedish ancestry.
was an American citizen, though of Dutch His mother was an American woman and
a descendant of English settlers.
Germany and France, and the violin.
Returning
to
at the
He
spent his early childhood in
age of six he began the study of
America, he entered the Boston Latin
had a thorough training in the Upon graduating, he was admitted to Harvard University, classics. where, together with other subjects, he studied harmony and comSchool, where for six years he
position
under
violin studies
K.
J.
under Franz Kneisel, then
While
Orchestra.
Simultaneously he
Paine.
of the
continued
Boston Symphony
Coerne wrote as musical
at college,
his
critic for
the
Cambridge Tribune. In 1890 he went to Munich, where he studied organ and composition
under Rheinberger at the
Royal
Academy
of
Music.
Upon graduating with honors in 1893, ^^ directed his symphonic poem " Hiawatha," a work which he afterwards directed in 1894 with the Boston Symphony Orchestra in Cambridge, Massachusetts. Munich he also played his organ concerto, which he later Before played at the Columbian Exposition and again at Buffalo. returning to this country he made several protracted tours through In
Italy,
He
France, and England.
tation to visit the Exposition at
Bureau
his arrival there the
of
presently received an
official
invi-
Chicago as solo organist, and
after
Music made request
for the composi-
tion of a festival overture, to be played at the closing exercises of
the
Exposition.
In the
home, and accepted,
first,
fall
he went back to Boston, his former
the position of organist and choir-master of
a boy choir in Roxbury, and afterward a position at the Shepard
Memorial Church
employed
in
in publishing earlier
In 1894 Coerne
During the winter he was works and in teaching.
Cambridge.
was
called to Buffalo,
New
actively
York, as director of
the Buffalo Liedertafel and Buffalo Vocal Society, and subsequently
took the position of director and organist of the Church of the Mes-
During these years he composed his first opera, entitled " A Woman of Marblehead." He went to Columbus, Ohio, in 1897, to fill the position of organist and choir-master of Trinity Church, and subsequently assumed the directorship of the Arion Club and the Columbus Maennerchor. From 1899 to 1902 he
siah there.
THE ORCHESTRAL COMPOSERS OF AMERICA
203
and teach-
lived abroad, devoting himself to composing, publishing,
An
ing.
order to finish an uncompleted mass of his former master,
Rheinberger, was given him, and he also composed
second
his
work has been accepted for performance at the Berlin Royal Opera House. At the close of the year 1902, Coerne returned to Boston, and again accepted a position as organist and choir-master. He was called to take charge of the department of music at Harvard University for the Summer School of 1903, and he is now musical professor at Smith College. Like most of the American composers of the present, Coerne His first has been in search of American subjects for his muse. opera,
"
opera,
"
Floyd
(or
that
A Woman
is
it
This
Zenobia."
Flood)
latter
Marblehead,"
of
Ireson
a pity that
episode.
poor Floyd
deals
We
Ireson
scorn by the good poet Whittier, and the lead, as a hard-hearted
man.
of the
punished him.
The opera
in its first act,
second opera, be a work of
"
who
follows his
has been abundantly shown that
and a sufficiency its
be held up to
should
women
a worthy work, has
is
Zenobia," from
add, parenthetically,
librettist,
crime for which the
he was innocent
maxes
It
may
somewhat with the
of
Marblehead
of
some broad
melody throughout.
cli-
The
acceptance abroad, would seem to
much importance.
Mr. Coerne has done his best orchestral work
in "
something not so highly colored as the great cantata
Hiawatha,"
of
Coleridge
Taylor (the only negro composer of classical music), nor yet so directly derived
from the aboriginal music as MacDowell's
Suite," but clear
and well-developed music nevertheless.
Coerne yields too much to
means
his skill in elaboration, but he
which too often covers a paucity
He
little
cianly
is
to be classed with the dissonance-mongers, nor has
sane, healthy, a
and
Indian
Sometimes
consecutive-fifth habit, is
"
of
by no he the ideas.
too diffuse at times, but always musi-
earnest.
Every branch
of
composer's writings
music
is
— concert
represented in the overtures,
list
of this
young
symphonic poems, operas,
a string quartette, organ compositions, canons, songs, piano pieces.
Most
of
having accepted many
of
them.
—
German publishers Europe The organ works are of excellent
them have been published
in
THE HISTORY OF AMERICAN MUSIC
204
worth, thanks to the evident contrapuntal abihty of the composer.
Altogether
may
take
its
place on the
accepted tone-masters which
of the
list
America has produced. Another name that may some day of our
music
born at Newton, Massachusetts
January
He was
5,
find place
that of Frederick S, Converse.
is
1871,
name
very possible that in a few years Coerne's
is
it
and
educated
(a
therefore
is
This composer was Boston),
at the early part of his career.
Newton, and studied piano under
He went
local teachers.
to
Harvard Col-
1889 and, of course, came under
lege in
the influence of
graduated
Op.
I,
its
He
musical director.
1893 with the highest honors
in
music and,
his
the leaders
fashionable suburb of
still
in the schools of
in
among
at that time, a violin sonata,
was publicly performed.
not every composer
who
It
is
begins his career
with a large classical composition.
A
few months of commercial career
convinced the young Converse that he
was unsuited decided Fig. 58.
— Louis
He Adolphe
to
to
make music
his
he then
profession.
thereupon studied pianoforte for two
years with Carl
COERNE.
business, and
speak
of
Baermann (whom we
again) and composition
shall
at
the
same time with Chad wick. After this he went to that Mecca of so many American composers, the Royal School of Music, at Munich, from which he graduated in 1898, with honors in composition. His symphony in D minor (Op. 7) was first produced at this time. The following winter the
Boston
movement
work.
first
back
to
of this
America, and
two years a teacher
He music.
is
now
in the
Symphony Orchestra performed
After graduation Mr. Converse came resident in Boston, where he was for
New England
Conservatory of Music.
has written several large orchestral works and
Among
the
much chamber-
the works that have been performed in
America
are
two symphonic poems, inspired by Keats, one entitled the " Festival of Pan" and the other "Endymion's Narrative," which the composer calls
"Romances
for Orchestra,"
—a
term quite as applicable as
THE ORCHESTRAL COMPOSERS OF AMERICA
He
205
*'
Poemes Symphoniques."
"
Euphrosyne," a string quartette, a sonata for violin and piano, a
and a ballad for baritone voice and orchestra,
suite for piano,
Dame
Belle
has also written a concert overture,
sans Merci,"
—
all
"
La
which have been performed or
of
published.
Of the works mentioned above we tive,"
which
the present.
endeavor
to
most worthy addition
a
is
There invent
is
no straining
"
prefer
Endymion's Narra-
to the orchestral repertoire of
romance, no
for effect in this
new and impossible
progressions,
yet
is
it
thoroughly modern withal, and deals with the largest orchestral
Nor does Converse is a march theme in
score without attempting unnecessary tumult.
when
disdain melody the
work which
music.
and
is
the happy
is
Best of
all,
work
the
and there
requisite,
it is
medium between
It
is
more
same poem, but
One can
skilful.
such as occurs
poem
a good illustration of
The
is
"
Endymion
"
the saying that "
was
less romantic, less melodic,
and
music begins where language ends. inspired by the
and popular
the dreamy, sylvan style of Keats,
is in
a noble translation of the spirit of the
into the tonal form.
classical
"
Festival of
Pan
scarcely imagine Keats inspiring a fugato,
work.
in a portion of this
positions are to be regarded as
Neither of the two com-
"programme music,"
for the
com-
poser does not schedule his meanings, but leaves the auditor free to
make his own application. The first movement symphony (all we have heard of the work in America, as yet)
read his Keats and of the is
in strict sonata-allegro form, as
tory composition,
one would expect
but shows good
in a conserva-
climaxes and a commendable
control of the orchestral forces.
There
is
another Converse
orchestral forms. in
This
is
who has
Charles Crozat Converse,
Warren, Massachusetts, October
drifted
also written in the largest
7,
1832.
This
who was born
earlier
composer
from music into law, and his larger works are mostly
manuscript.
We
confess a lack of familiarity with them, yet the
in list
There are two symphonies, ten orchestral suites and overtures, three symphonic poems, an oratorio, six string quartettes, and a very popular hymn, " What a Friend we have in is
formidable enough.
which we know and do not find very musical. Theodore Thomas, Walter Damrosch, and Anton Seidl have produced some
Jesus,"
THE HISTORY OF AMERICAN MUSIC
2o6 of his
Mr. Converse was a student at Leipsic Conservatory,
works.
have been published in Europe.
of his compositions
and several
Yet another young American symphonist may Howard Brockway was born in Brooklyn, November youth he studied with Kortheuer,
his
New
in
the
list.
1870.
In
swell 22,
At twenty
York.
he went to Berlin, and studied piano with Barth and composition
—
with the American teacher there, O. B, Boise
The
in-law.
and
his fellow-countryman
latter trained
own
his
father-
relative so
had written a symphony, a symphonic ballad, a violin sonata, a romanza for violin and orchestra, and many Many of his compositions were published abroad, and other works. well that by twenty-four he
he conducted a concert of his own works
where he received much Brockway's "Sylvan Suite"
Berlin,
Gericke at the Boston cleverly written,
is
Sing Akademie
at the
in
praise.
for orchestra
Symphony
was performed under This suite
concerts.
very
is
quite genial and agreeable throughout, yet intro-
duces some counterpoint in a tricksy fugue given to the Will
Wisps, which shows that these
fairies are
more
o'
classical than
the
has
There are semi-popular touches in the " Dance the Sylphs," a neat waltz, and a march theme in the fourth
been supposed. of
movement, while the
"
finale,
A
to a pleasant sylvan suavity.
who
will
At Daybreak,"
is
strong climax
a
graceful composer
He
no doubt grow broader.
is
is
Brockway,
present engaged as
at
Peabody Institute, in Baltimore, where O. has recently become professor of composition. instructor at the
In speaking of the
we have up
West
in connection with musical progress,
to this point confined ourselves to
and Cincinnati
;
and these two
cities
of
them.
stances,
the art
cities,
Chicago
festivals, in operatic
Yet a few orchestral writers have appeared outside
Cleveland,
one orchestral
two
have certainly been the most
important in the orchestral advance, in music performances.
B. Boise
writer,
home
good composers, has Beck, who, under more encouraging circum-
the
of
several
might have become, may yet become, a great influence in that is growing stronger each day in communities which but
a short time since were entirely commercial.
Johann H. Beck was born 1856.
He
studied
violin,
in Cleveland,
first
in
Ohio, September
Cleveland,
afterwards
in
12,
the
THE ORCHESTRAL COMPOSERS OF AMERICA Returning
Leipsic Conservatory.
207
Cleveland from Germany, he
to
at once devoted himself to the large forms of composition.
needless to say that there was
encouragement
little
It
is
for this in his
Beck kept bravely on, His writing overtures, a cantata, chamber-music, and a few songs. teachers in Germany (in composition) had been Reinecke and Jadassohn, and of course they taught him expression without subverting the rules of form and harmonic progression. Beck's large works are, unfortunately, not accessible, being in manuscript. Yet they have been played both in America and in Europe. We can only judge of them by the little that has been heard at concerts of the Music Teachers' National Association, but it would seem as though Beck with his manuscripts, in Cleveland, and practically native
city
unknown
in the
in a closet.
Nevertheless
time.
that
at
Eastern
But he
cities
with large orchestras,
no longer a solitary
is
is
like a giant
classicist in Cleveland.
Wilson G. Smith, James H. Rogers, and others have brought that
modern school
city into line with the
some degree a musical
composition and made
it
in
centre.
St. Louis, large metropolis as
Even
in the musical field.
1904) promises
of
its
it
is,
has lagged behind somewhat
great International Exhibition (of
the field of music (save organ recitals) that
little in
can compare with the new compositions, the symphonic concerts, the musical congress, that
Chicago, in 1893.
—
its
musical leader
Ernest
^^^
St.
— and
marked the Columbian Exhibition at Louis, too, has its orchestral composer this artist is a native-born citizen.
Kroeger
Richard
(Fig.
59)
was born
in
St.
Louis,
August 10, 1862. His father was a native of Schleswig-Holstein, his mother was of English birth. The young Kroeger was at first obliged to enter a business career, and from fifteen to twenty-three the only musical study that he had was gained in left free
At
from commercial pursuits.
decided to
make music
his profession.
pursued in America, and chiefly
in
His
list
phonic overture on Seidl in
New
of "
moments
twenty-three, however, he
All his studies have been
the West, wherefore he
stand as a typically Western composer. writings.
the
He
may
has aimed high in his
compositions includes a symphony, a sym-
Sardanapalus
"
which has been performed by
York, and another overture entitled
"
Hiawatha," in
THE HISTORY OF AMERICAN MUSIC
208
which he used actual
Omaha by
the
Indian
Thomas
This work was given at
themes.
The American theme has
Orchestra.
drawn him. Not only his "Hiawatha" shows this, but in "Ten American Sketches" (Op. 53), he portrays Negro, Indian, mountain, and prairie life, and sounds a characteristic note founded rather
upon the idea
Victor Herbert's Pittsburg Orches-
of the folk-tone.
produced his
tra
Like F.
ture.
"
Thanatopsis
"
over-
Converse, he
S.
has
been inspired by Keats's poetry, and has written an overture entitled
He
dymion."
has composed in
veins of chamber-music, and his
works
&
kopf
A
and orchestra
many of
have been pub-
in this field
Hartel.
En-
some
by the German firm of
lished
"
Breit-
concerto for piano
remains in manu-
still
script.
A
whole host
compositions
Kroeger
Mr.
by
and vocal
of piano
have
been published, and among these are Fig. 59.
— E.
R.
anthems, quartettes, choruses, and the
Kroeger.
He
like.
and
tions of substantial worth,
by
his prelude
and fugue
Kroeger's labors in
his contrapuntal skill
for piano, a skilful
music have been
America must needs be
has written organ composi-
and serious work.
many
He
versatile).
may be judged
(for
Mr.
the musician in
has been organist, choir-
master, conductor, founder, and leader of clubs, head of a college of
music, and has been most prominent in teaching and
music
in
his
native city.
are not always ungrateful). of
Music
of the St.
He He
United States, are due It is
city
;
doubtful
if
but the term
has received his reward has been
Louis Exhibition,
tant organ recitals, to be given
by
made
of 1904, artists
(for cities
Bureau
chief of the
and the many impor-
from every part
of the
to his efforts.
Pittsburg would accept the
may
developing
be applied to dissociate
and Boston, the Eastern musical Southern musical city. Pittsburg
centres, has,
Western" from New York
title of
and
it
New
a
"
Orleans, the
thanks chiefly to
Andrew
THE ORCHESTRAL COMPOSERS OF AMERICA become a musical centre as we shall see in a later
in recent years,
Carnegie, playing,
chapter,
it
209
and
organ
in
has had advantages
beyond many an Eastern city. It has its own symphony concerts, and it has its little group of composers. Of these one stands forth as a representative American composer.
Adolph Martin Foerster was born
He
1854.
save as an
For a time he had no intention
he achieve success.
and
1872,
who was
came to the conclusion that The serious study of the
in
art
and Wenzel and Coccius
America he became a teacher
Leipsic a
in
where he has since remained. in
He
musical matters.
Symphonic
the
Fort
Wayne
Schimon return to
his
(Indiana) Con-
but after a year in this post he returned to Pittsburg,
servatory,
front
at the
On
piano.
in
com-
began with him
pupil of Richter and Papperitz in composition. Grill and in voice,
his
music only could
in
from that time he was
for three years
2,
music
of following;
accomplishment, but, after three years spent
mercial pursuits, he
in
February
Pittsburg,
inherited his musical gifts from his mother,
teacher.
first
in
Society, and in
and the Choral Society.
Germany, upon
this
influence of Robert Franz, in Halle,
American composer, has not been
Foerster's six songs (Op.
who was his Many of
The
Here he at once pushed to the was very soon made conductor of 1883 he directed the Musical Union
6),
are dedicated to the
a slight one.
German
master,
close friend.
the orchestral works of Foerster remain in manuscript,
although most of them have been performed.
So long
we have
as
a public not fully acquainted with the orchestral works of the great
masters this must necessarily be the fate of the mass of American
But that acquaintance
composers.
we may hope
that, in the
is
being speedily made, and
near future, instead of unnecessary repe-
titions of standard works, or interpretations of the efforts of untried
European
fledglings, there will be a constant
demand
for
worthy
compositions of American musicians, leading to their publication as
well
as
to
their
performance.
characteristic orchestral piece has,
Thusnelda," by
of
print.
Wagner), a march-fantasia, a
by Seidl) and some
others,
Foerster,
a
founded upon a poem by Schaefer,
however, attained the dignity
(in spite of
"
A
festival
"
Faust
"
overture
march (performed
yet await their publisher.
In
songs
THE HISTORY OF AMERICAN MUSIC
2IO
is
and he
what he wishes
clear in
is
romantic, without becoming mawkish,
melodic and
sufficiently
to say.
Perhaps nothing can show the growth
more
of
music in America
vividly than the fact that one can find great artists
composers even
in the cities
and good
most remote from what we have called
San Francisco possesses
"musical centres."
He
been very successful.
in piano compositions Foerster has
and
its pianists,
organists,
composers, and conservatories, and in far Colorado there has been not only a good conservatory, but a composer, an orchestral com-
poser of native birth, Goldmark,
who
be heard from
likely to
is
frequently in the near future.
Rubin Goldmark
same name, College
City
the
of
New
studies in
wards went teen,
education
his
received
He was
Vienna.
in
in
the
New
of
of
New
born in
schools
public
He
York.
further with
On
his return to
New York
and Dvorak.
Joseffy
the
York, in 1872, and there,
took his
and first
whom
Arrived in the Austrian capital
he began earnest study with Door,
composition.
great composer of
the
York, with Alfred Livonius, with
Vienna.
to
nephew
a
is
in piano,
in
the
musical
he
after-
at seven-
and Fuchs,
in
he studied both branches
His health sent him
to Colo-
rado Springs, where he established a college of music, and where
when he again returned to New York. At nineteen Goldmark composed a theme and variations,
he resided
until 1903,
orchestra,
which was performed by
success.
At twenty
to say,
"There
ture (that
are
Indian
Seidl, in
New
York, with
for
much
came a piano trio, which caused Dvorak now two Goldmarks " A "Hiawatha" overthere
!
as
rises
constantly as
Banquo's ghost, at the
American musical banquet) has been played by the Boston Symphony Orchestra a violin sonata, a host of songs, and a liberal list ;
of other compositions
poser to our
art.
form the contributions of
What
this
young com-
has been heard and seen of these works
proves the young Goldmark to be a remarkably scientific musician, graceful in his thoughts, and fine in his orchestral coloring.
Another composer from the middle West is Carl V. Lachmund, who was born in Booneville, Missouri, in 1854, and went abroad at a very early age to study music.
under Heller and Seiss
;
a
At
thirteen he
little later at
was
at
Cologne,
Berlin with the two Schar-
THE ORCHESTRAL COMPOSERS OF AMERICA
211
wenkas and Moszkowski finally with Liszt at Weimar, where he Lachmund was active in the opera at stayed for some years. Cologne, and became known to the German concert-rooms through a trio for harp, violin, and violoncello, and also a concert prelude ;
that
Since his return to America his
was quite popular.
"
Japanese
Overture" has received performance by Thomas and Seidl, and he has become prominent in New York, where he has taken up his residence.
This chapter
may
be fittingly brought to a close with one of the
composer who, by some, is considthe very few Americans to be called a master. Arthur
more important names, ered one of
that of a
Whiting (Fig. 60) has written in almost all the musical forms, both great and small, and has won success in many of them. His works have been played by all of the great orchestras of America, and many of them have had interpretations abroad. And in this B.
connection a clear statement
ance
large
a
of
of
the
of
be made.
The
single perform-
work does not always prove much.
wires are pulled, there
works
may
so
is
much
So many
playing of musical politics, that
an inferior order sometimes appear upon a programme
highest
class.
Some
conductors,
and notably Thomas,
Gericke, Paur, and Seidl, have sought to stem this
tide,
and their
The works of some native composers, however, are in actual demand and are played over and over again. The concertos of MacDowell, the overtures of Chad wick, the suite indorsement means much.
D
minor by Foote, and numbers by Paine, Horatio Parker (chiefly vocal), and Arthur Whiting, are played purely because they are worthy compositions, just the same as a work by Brahms, in
or R. Strauss, or Grieg.
Whiting (who is a nephew of the organist and composer G. E. Whiting) was born in Cambridge, Massachusetts, June 20, 1861, and is a member of a remarkablv musical familv. His father was a musician of some prominence, and the young Whiting was given instruction of the best character from the very beginning. William H. Sherwood was his teacher in piano, Parker in harmony, and George W. Chad wick taught J. C. D. him the higher grades of composition. Then came the trip to Munich, where he formed one of the excellent band of Americans Arthur
Battelle
THE HISTORY OF AMERICAN MUSIC
212
which Rheinberger instructed, and
of
which Chadwick was one
of
the earHest members.
On
America he settled in Boston, marrying into one of the oldest New England families. Within the last few He is not a years, however, he has made New York his home. composer who gives forth a large list of compositions, for he works Almost all slowly and seems to prize finish as much as inspiration. Recently, howof his early works were instrumental or orchestral. his return to
ever, he has
won
a striking success in a vocal setting of Oliver
Herford's cycle of poems entitled
Floriana," in which he has dis-
"
played a charming delicacy and a thorough comprehension of the
needs of the vocalist.
dainty and graceful
in the
It is
moods
that
find
him lacking when
vigor and fiery dramatic expression are required.
Yet he has been
we
find this
composer
his best,
at
and we
some which
of
"
certainly are
Barrack-room Ballads,"
not
Yet
over-delicate.
doubted that ent
"
time, his
work
Floriana
"
is,
the pres-
to
Mr. Whiting
direction.
of
his
Yet some
of his
vanced manner that
it
minor (Op.
6),
that
in
piano works are in
such
an
ad-
gives the composer
the right to appear in this chapter.
D
clever
of the in-
works tend
combined with orchestra
written a piano concerto, in
artistic
a
is
and a prominent teacher
strument, most
Whiting.
up
be
to
in the vocal field.
pianist
— Arthur
not
is
it
most successful and
Naturally, as
Fig. 60.
Kipling's
fairly successful in setting
He
has
which has been heard
American symphony concerts as long ago as 1888. The orchestration of this work is quite advanced, and there are bold modulations in it that are beyond the suavity of some of Mr. Whiting's later works. Even before the composition of this concerto the composer had brought forth classical pieces. A piano trio, performed in Munich, we have never heard, but a concert overture, in
performed by the Boston Symphony Orchestra,
in
1886,
made
a
very favorable impression, although not of the power of the Chad-
wick overtures, which had preceded
it.
In
1891 a
suite,
in
G
THE ORCHESTRAL COMPOSERS OF AMERICA minor, for string orchestra and
The combination
appearance. one, yet that he
it
horn quartette (Op. of
was very successful.
was a master
were well exhibited.
concerts presented a violin
made
8)
its
musical forces was an unusual
Whiting showed grace and elegance
In this suite Mr.
of sonata form,
About
213
and
his
same time the Kneisel quartette sonata by the young composer, the perthe
formers being Mr. Kneisel and Mr. Whiting.
But the most ambitious and orchestra,
for piano
in
poser not only has more of
B
a pastorale, nominally
virile
by a condensed return before, yet
it
a form
is
is
minor (Op.
power than
11).
of
In this the com-
to innovate in musical form, giving
first
movement
which we do not
recall
effective
is
it
the
followed
the finale
ever having met
symmetrical and decidedly useful in classical it
of
treat-
any
of
As might have been expected from a instrument is made rather prominent, having long
contrasts.
pianist, the chief
stretches of absolute solo free a
really as
before
ment, shortening the composition, yet not depriving its
com-
in his other large
movement, but the first movement, for
the
the fantasia
is
as a second
contrasted second portion of
This
fiat
even manages
positions, but he
begins.
Mr. Whiting's works
of
;
but this can be readily condoned in so
form as a fantasia.
All together, then, Mr. Whiting, beginning in too suave and Chesterfieldian a manner, has
grown
constantly,
the prominent composers in the larger forms.
and
is
now one
of
His compositions
become more and more powerful with each successive number, and his piano works are among the most useful in the entire American repertoire.
PLATE
VII
ANTON SEIDL (Copyright by
Aime
Dupont.
New
Yorki
IIV
3TAJ^
jai32 MOTHA
CHAPTER X OTHER ORCHESTRAL COMPOSERS OF AMERICA After Europe
narrating
now becomes
it
advent
the
necessary to
— those
have expatriated themselves
end
studying abroad, at the
and possibly believing that success
foreign climes,
branches of the profession was
This
almost permanently. these
first of
many
Berlin for
who
musical course, tempted by the musical atmosphere of
of their
The
American compositions in speak of some Americans who
of
settled in
August
Europe
who taught music
Boise was born in Oberlin, Ohio
years.
higher
happily a short one.
list is
Otis Bardwell Boise,
is
active musical town),
home,
difificult at
in the
13,
He was
1844.
(a
in
very
educated at the
public schools in Cleveland, Ohio, and was an organist at fourteen
years of age.
1861 he studied in Leipsic, under Hauptmann,
In
further study porarily) to
in
playing
1876 Boise was in
New York
the
1864 there came
in
under Kullak.
Then he returned
and from 1865
land,
New
and
organ,
in
to
still
(tem-
1870 engaged in
Cleveland.
From 1870
York, as a teacher of composition
to
in the
Conservatory and organist in the Fifth Avenue Presby-
terian Church. ;
others;
Berlin,
his native
teaching, and
studying
and
Moscheles,
Richter,
He was
in
Europe again
and now he won the friendship
in
of
1877, Liszt,
composing and who helped him
work and undoubtedly aided him in his recognition abroad. Another attempt in New York followed, from 1878 to 1881, and Finally, then came seven years of business affairs instead of music. in 1888, there began the period of his expatriation, and from that There has time (until very recently) Boise remained in Berlin. been a good reflection of his work in America, for Howard Brockway (his son-in-law) studied with him in Berlin, and Huss was his in his
pupil before he
left
America.
Boise has written symphonies, over215
THE HISTORY OF AMERICAN MUSIC
2i6
concertos, and other large works, but these are better
tiires,
abroad than in his native land.
Harmony made
entitled "
work
ern in
tendencies.
its
In
He
known
has also written an educational
Practical,"
which
decidedly mod-
is
1902 he returned to America and
is
at
present (1904) in Baltimore.
Arthur
was born
in
American group
the second of the
Bird,
Cambridge, Massachusetts, July
1
88 1
male chorus
first
in
Nova
Scotia.
he went back to Berlin for more extended study, under
Heinrich Urban, at Kullak's school.
drawn
Berlin for two
Halifax (Nova Scotia) as organist and
and founded there the
teacher,
In
in
in
Returning to America
years under Haupt, Loeschhorn, and Rohde.
he settled for four years
He went
23, 1856.
abroad before he was twenty-one, and studied
Europe,
in
to his work,
and the summer
The of
attention of Liszt was
1885 was spent with that
master at Weimar, as also part of the following year, cert given in
Berlin in
1886 served to introduce some
works to Germany, and so successfully that
his path
A
con-
of his
own
became easy
in
that musical centre.
Another
visit
was made to America
in
1886, but eventually
same time that Boise settled abroad) Bird became a regular teacher and composer of Berlin. He has composed in almost all forms and is an excellent contrapuntist, yet uses his skill in this direction as a means rather than as an end, seldom making a display of his knowledge. His works include a symphony, in A, three orchestral suites, some excellent piano compositions (including two fugues), a ballet, and an opera comique entitled " Daphne." A third American composer abroad is Templeton Strong. He (about
is
the
the son of the late G. T. Strong, once president of the
Philharmonic Society. ley,
are
and Horatio hosts
of
W.
Henry K. Hadtheir names (there
Just as Arthur B. Whiting,
Parker have dropped part of
instances
New York
of
this
in
musical
biography, outside
of
William Richard Wagner), so George Templeton Strong has cur-
Templeton Strong. Born in New York in 1855, of a distinguished and wealthy family, his musical education was fostered from the very beginning, and after some study in his native city he was sent to Leipsic, where, in the great conservatory, he tailed his
name
to
studied composition and piano for
some
years.
In
1891 he
came
OTHER ORCHESTRAL COMPOSERS OF AMERICA America
to
to take a position in the
New
217
England Conservatory
as
harmony and counterpoint. He became very popular with all who came in contact with him, pupils and faculty alike, but was soon obliged to return to Europe on account of his health, which suffered from the rigorous New England climate. He at present makes his home in Vevay, Switzerland, composing amidst teacher of
the most picturesque surroundings.
He
Strong has written much orchestral and cantata music. possesses a grace in delicate romance that
modern orchestra he
and
in his control of the
the
American composers.
He
altogether charming,
is
is
the equal of any of
has written two symphonies, of which
one, "Sintram," has been given in the United States,
performing Strong's
magnum
opus.
It is
Seidl
may be taken as has much power and
This work
Brooklyn, in 1892.
in
it
Anton
too prolix, but
it
More artistic and poetic to our thinking is " The Haunted Mill," a work for chorus, baritone solo, and orchestra, which is as successful a work as anything of its kind in the reperbrilliantly scored.
is
toire,
being
symphonic poem,
"
Undine," has not yet been heard
Strong's piano works are
with
German
from beginning to end.
inspiration
true
of
full
text) are
all
poetry, and
of
full
worthy
America.
his cantatas (mostly
translation
of
in
A
and performance
America.
in
If
we have loaned
to
Germany
that country has returned the
American composers,
three good
compliment
tenfold,
by sending us a
host of creative musicians who, having taken up their residence
among
us,
ment which
have become part and parcel is
now
so strongly
side of the Atlantic.
we
marked
In such a
in
the
of
musical matters on this
as that
list
shall not include sporadic visitors,
advance move-
which
is
who have been
to
follow,
sojourning
here from the time of Jullien to that of Richard Strauss, but only those
who have
definitely
Americanized themselves and have given
their
permanent
efforts to
compositions of an American character.
Among these modern
one
man
stands preeminent for mastery of the most
orchestra, for originality of thought, as well as for remarkable
devices in combinations of instrumentation. is
Charles Martin Loeffler (Fig.
Alsatia, in January, 1861.
A
61).
few
He was
of his early
This modern Berlioz born
in
Mlihlhausen,
works were published
THE HISTORY OF AMERICAN MUSIC
2lS as by
Loeffler-Tornov, the
latter
being part of his family name,
which, however, has been omitted from later works. teenth year
In his four-
studied violin with Leonard in Paris, with Massart, in the
and with Joachim,
He
rank.
Berlin,
in
becoming a
then
same
city,
of
violinist
the highest
studied composition with Friedrich Kiel, in Berlin, and Loeffler himself doubts, how-
orchestration with Guiraud, in Paris.
whether he ought
ever,
He
he decided to make music his profession.
be called a pupil of Kiel, as his studies
to
with him were interrupted and very
His chief studies
brief.
of
made from the orchestra itself, or with men who His work with the Pasdeloup (he says) are quite unknown to fame. Orchestra, in Paris, and with other European orchestras, gave him a orchestration were
practical training that has
More than years in
of the greatest value to him.
half of Loeffler's life has
New York
been passed
and twenty-one years
he has been one
city
been
Symphony Orchestra and
Boston.^
in
most prominent
of the
although about
New
York.
all
of
Most
Boston
At
present
a teacher of the highest rank.
Few
of Loeffler's
in order to
have more
works have been published,
them have been performed
of the
In the latter
violinists of the
he has dissociated himself from the orchestra time for composition.
America, three
in
either in Boston or
published scores have appeared in Paris,
and include a few songs and a berceuse for violin and piano. Recently he has produced four remarkable songs with French text (the poetry by Gustave Kahn), which have been published in New
They prove
York.
that even without the
glow
of orchestral color,
composer can present impressive music.
this
work has been largely orchestral. His chamber-music is very effective and practical, as might be expected from so thorough a violinist. In some of it he has develIn the main, however, Loeffler's
oped Russian themes very brilliantly. His tendency toward Russian and French subjects has been marked, as also a decided morbidness that
is
a characteristic of the ultra-modern school.
tinctly
Russian flavor
more attractively employed) in his string Such a subject as Maeterlinck's " Death ^The
portrait of Loeffler
is
a dis-
in Loeffler's violin concerto, as also (and here
it is
Sargent, presented to Mrs.
There
which
John
L.
is
reproduced herewith
Gardner of Boston, and
sextette. of
is
is
Tintagiles" would
a recent painting by
John
S.
at present in her Italian palace.
FIG. 6i.
— C.
M. LOEFFLER.
After the painting by John S. Sargent. (Copyright by
Thomas
E. Marr.)
1
OTHER ORCHESTRAL COMPOSERS OF AMERICA
22
we have spoken made into a large
naturally appeal strongly to the morbidezza which of as
prominent
in this
composer's work.
It
is
symphonic poem, and the composer's individuality in scoring is shown by his resuscitating the obsolescent viol d' amore, and employing two of them to picture the pathetic hero and his sister, a thoroughly adequate tone-color which speaks the orchestral mind.
The
may perhaps
present writer
work written by him
extract from a review of the
hearing.
Now
"
will
It
by C. M.
be pardoned for introducing here an after
followed a very talented, but very radical, composition, Loeffler, entitled
He
pessimism.
'
La Mort de
Mr. Loeffler
Tintagiles.'
thoroughly imbued with ultra-modern
is
has given us a carnaval des morts, and has rev-
elled in the verjuice of Verlaine,
and now he plunges
deeper gloom
It
art;
Maeterlinck.
of
music
is
hopeless wailing,
a
first
serve to point out Loeffler's merits and defects.
has already proved that he
modern
the
a
no longer
into the
but the tendency
is
to be beautiful, but
thrice-intensified
acknowledge that shadows are needed
most
of
to
is
still
become
One may
Weltschmerz.
to give the best effect to lights
must contrast against good in literature, that dissonance must enhance consonance in music; but to present in painting, that evil
shadows
sonances and unrest, is
hysteria, the "
and misery,
only, to portray only crime
bad
is
In the Maeterlinck cult the religion
art.
so steeped, soaked, and sodden in horrors that,
mind, some of his tricks become comical.
and palaces are always
in
bad
His
castles
repair, built in a malarial district,
bad drainage, and perfumed with blood. passages
dis-
temple a morgue.
Maeterlinck
to a healthy
is
sound only
to
Heavy
with
iron doors, dark
with horror, mysterious presences, melancholy chil-
filled
tales
gloom and terthe characters never speak but always stammer their gruesome to each other; there is murder in the air, there is death at the
end
of every play.
dren abound. ror
;
Andronicus
'
Everybody goes about
is
Shakespeare's
of
'
I
with
it
be Shakespeare's)
its
Titus
and what '
?
And now we
are to have this perni-
only ambition that of the fat boy in
wants to make your
;
'
Shakespeare had he brought forth one Titus
Andronicus' after the other art,
(if
sunshine compared to these tragedies
would one have said cious
in the deepest
flesh creep
!
'
— exerting
its
'
Pickwick,'
—
funereal influence
THE HISTORY OF AMERICAN MUSIC
222
Mr. Loeffler does not beat about the bush he plunges He begins with a disbodily into the brambles of the modern path. sonance that makes the first chord of the finale of Beethoven's Ninth in music.
;
and, once launched, there are
Symphony seem sweet by comparison, no stopping-places, no cadences
of repose
—
all
is
restless,
agonized,
sorrowing.
good taste, however, to use a couple of viols d'amore to represent the two children, Tintagiles and Ygraine, although their wretchedness was pushed to such great length that it became monotonous at last. The two viols d'amore were not the only " It
was
in
wonderful score, for a pedal
instrumental novelty of the
clarinet,
the deepest of the single reed instruments, was heard in America, in
And
for the first time.
this work,
in the application of
novelties
there were
still
older instruments
cymbals the composer showed himself a master Setting
binations.
all
modern
"
The odd
the
erally,
short
among
of orchestral
com-
the most famous masters
effects
produced upon the cymbals (not unlike WagVenus-scene
in
'
Tannhauser'), the impressive
midnight upon the harps (Berlioz and
sponsors for
from harps to
orchestra.
ner's rattling in the
tolling of
striking
the lugubrious ideas aside, Mr. Loefifler has
suddenly shown himself as ranking of the
;
more
this),
the bold use of bass
muted
horns,
trumpet-blasts,
the
the
'
St.
drum and
ponticello
'
work
Saens may stand
of percussion genof the strings, the
mournful organ-point against the
viols
d'amore, these, and a host of other striking touches might be men-
we have in Mr. Loefiier." rescored this work and has eliminated
tioned to prove what a master of scoring
Mr. Loefiler has recently
one
of
the viols d' amore, giving the single obbligato instrument
more prominence.
new form the work show^s even more masmodern orchestra. If the extremely sombre and In
terful control of the
its
radical school be accepted,
it
may
be cordially admitted that Loeffler
modern exponents. Other orchestral works by LoeiBer show the same qualities. A divertimento for violin and orchestra presents a charming eclogue, is
a master of
it,
a rival to
any
of its
with just the tender pastoral feeling that ought to dominate such a
movement.
The
finale,
however, rushes into the extreme of frenzy
with a carnaval des morts in which
all
the diablerie in which the
OTHER ORCHESTRAL COMPOSERS OF AMERICA
223
In the eclogue the violins are composer revels is introduced. omitted from the orchestra, a point which gives especial prominence
Other ingenious touches
to the solo instrument.
muted trumpets
occur, even
(a
very rare effect
of orchestration in
orchestration)
being employed. morbidity bursts forth
All Loeffler's "
La
It
the rickets.
"
their
tones, piccolos
baleful
and
Carmagnole,"
stained
Led by
has created a Till-EulenspicgelV\wA of a
prancing through a most complicated forth
symphonic poem
not a Miltonian Lucifer that here appears, but a
is
very restless gentleman with Loefifler
his
du Diable," founded upon an eccentric poem by
Villanelle
Rollinat.
in
Terror blend in
shriek,
the
devil,
and sent him
Muted horns give " (^a
Ira" and
the
blood-
the
Reign
the
tunes of
score.
the poet, Mr.
of
confusion
fierce
in this picture of Satan.
In exquisite contrast to such
orgies
founded on
one
of
laine.
"
poem
symphonic
a
is
La Bonne Chanson,"
the finest works of VerIt is
poem
a tender
deal-
ing with the glory of daybreak
and the message
of
love, a pas-
the
morning-
this Loeffler
has turned
sionate appeal star;
and
into
music
in
to
a noble manner,
dreamy and yearning. has shown himself great tone-colorist
LoefHer to
— the
be
a
best in
Fu;. 62.
— Louis
Maas.
America.
A
great musician, Louis
Maas
(Fig. 62), took
up his residence
America in 1880, and, but for his early death, would have become a leader in the musical advance. He was born in WiesPupil and subsequently teacher baden, Germany, June 21, 1852. at the conservatory in Leipsic, he came to Boston, one of the in
most learned musicians
of the
Boston coterie
conducted the Philharmonic Orchestra
;
at that time.
He
sought out American sub-
224
THE HISTORY OF AMERICAN MUSIC
jects in music,
and
"
ern tours) entitled
and
wrote a symphony (inspired by his West-
finally
classical music,
On
was
the Prairies."
He
wrote
much
orchestral
a pianist of foremost rank, a very successful
and stood very high in his work at the New England Conservatory of Music. A most prosperous career seemed opening
teacher,
him in America, but September i8, 1889.
to
Richard Burmeister
it
is
was cut short by
his death in
another of the foreigners
who
Boston,
has identi-
American musical progress. He was born in Hamburg, December 7, i860. He was a teacher in the Hamburg Conservatory and also a pupil of Liszt, in the general sense in That is, Liszt advised him, heard which this term is applied. him play, admitted him to the coterie at Weimar, and guided He his performance and his compositions in a large degree. an exceptional was also with Liszt in Buda-Pesth and in Rome himself with
fied
—
He
privilege.
has written a piano concerto,
has
rescored
the
Chopin F minor concerto, and has added an orchestral part to Liszt's own "Concerto Pathetique." Li 1885 he came to America, and for twelve years was the head of the piano department of the
Peabody Institute in Baltimore. After that he settled in New York, where he became head of the Scharwenka Conservatory and whence he made concert tours present residence
is
all
over this country and Europe.
Europe, where he has
many American
His
pupils.
Hamerik (born in Copenhagen, April 8, 1843) was director of the same Peabody Institute Conservatory, from 187 1. He has composed an enormous list of large works, including five Asgar
symphonies
;
but none of these are especially American, so far as
they are generally known.
many
and
of
his
He
has written
compositions are
Danish
much in
sacred music,
their
trend
and
inspiration.
Otto Singer was more thoroughly Americanized than Hamerik.
Born
at Sora, in
Saxony, July
26, 1833,
he studied in Dresden, in the
Leipsic Conservatory, and with Liszt (the usual reservation
made came
is
to be
and was a teacher in the two cities named above. He to America in 1867, and taught here for more than a quarter of a century. Such foreigners have had a more important role in American musical history than some of our native-born composers, here),
OTHER ORCHESTRAL COMPOSERS OF AMERICA and
quite in line with the purpose of this
it is
At
influence.
Singer was a teacher
first
In that year he was called
1873.
conductor of the
May
first
vokime
in
to trace their
New York — until
Cincinnati to
to
225
be assistant
After this musical
Festival in that city.
occasion he accepted the post of teacher of piano and composition in
Music
College of
the
almost the rest of his
life.
where he
3,
in
January
died,
Cincinnati
due
is
to
May
choruses for the
Cincinnati,
in
Much
1894.
much
had
York,
For years he trained the
1876 he wrote an American
In
The Landing
"
Besides
success.
the Pilgrim
of
this
com-
he has
many
posed symphonies, a symphonic fantasia, concertos, and
other
His "Symphonic Fantasia" was performed by Gericke
works.
with
for
chorus singing
of the best
Otto Singer.
cantata for one of these festivals, Fathers," which
New
1893 he returned to
In
festivals.
and remained there
the
Boston Symphony
Orchestra and with
good
success.
Singer stood on the neutral ground between the conservative and
Even
the radical.
his
"Symphonic Fantasia" followed
symphonic shape, giving the
of the
the outline
effect of four distinct but con-
tinuous movements. It
would scarcely be composers
cians,
porary
to
our purpose to speak of the
in
America.
Scharwenka, and other birds in
nor influenced
who have merely had a temSuch men as Busoni, Vogrich,
it
its
of passage,
On
musical career.
us for a generation or longer,
who have
had
their
all
their
honors belong
Loeffler,
written works on first in
part of the warp and woof of the to this
its
history
the other hand, such foreign
who have
works brought out
have honored our country
have not added to
for a time, but they
composers as Eichberg, Singer, and can pupils,
musi-
of orchestral forms,
residence
by remaining
many
who have
lived
among
taught hundreds of Ameri-
American subjects or have America,
— these
American musical
men
fabric,
are
and
country as Handel's glory belongs to
England, the country of his adoption. It is
perhaps
essentially
fitting that this
chapter should close with a figure
American, and one which
our readers.
It is
is
entirely familiar to
not the figure of a great orchestral conductor,
not a composer of the classical forms, yet the to follow has Q
most
had more performances
of his
it is
man whose name
works
in France,
of
is
Ger-
THE HISTORY OF AMERICAN MUSIC
226
many, and England than
One may recall the The birds declined like a
mouse
to associate with
the mice declined
;
classification of
his
among
fable of the bat
63).
tunes
Wagner monument
familiar to
are
classes,
all
knows
they play
that
example, the In
in Berlin.
festivi-
America
and many a musician who
Sousa does not belong among
that
masters might be obliged to
great
the
too
Germany they hold
In
as, for
it
confronts one in the
America
of
marches on international occasions,
his
was too much
it
companionship because
its
music so typically representative connected with the
the birds and the mice.
because
it
John Philip Sousa (Fig.
ties
far cited put togethei.
Some such dilemma
closely resembled a bird.
his
names thus
the
all
confess greater familiarity with the melodies of the former than with
themes
in
Washington, No-
His mother was Ger-
1856.
6,
man, his father a Spain,
of the
of the latter.
Sousa was born
vember
some
refugee from
political
who became
a
trombone
player.
Sousa's youth was decidedly variegated.
His musical teachers were John Esputa
At
and George Felix Benkert. Fig. 63.
— John
was
a dancing-school, at six-
fiddler in
Sousa.
P.
teen
(Copyright by E. Chickering, Boston.)
he led an orchestra in a variety
theatre,
director of a travelling theatrical for their play.
A
a negro minstrel
little later
company;
at
at
eighteen
troop,
musical
he blacked his face and appeared with nineteen he had
of the orchestra with
the United States.
Then he became
finally,
was
he
and had composed music
and was a member
company; and
eight he
moved
a
little
higher,
which Offenbach toured
director of a
"
Pinafore
"
opera
1880, at twenty-four years of age,
in
was
appointed leader of the United States Marine Band.
some good and some unscientific work. Our meaning may be made clear by examining the " National, PaIn this position he did
triotic
and Typical Airs
of all
Countries," which he collated with
the power of the United States administration back of him.
All our
consuls abroad were ordered to send to Sousa the chief airs of the
OTHER ORCHESTRAL COMPOSERS OF AMERICA One might have
countries in which they resided. that
would have been one
ture.
It
of the
might have been
so,
most valuable
or semi-civilized
barbaric
the
As
best.
of the
melodies
in
Apaches has an
band Sousa was not so
August
zation fairly famous.
and formed peculiar
its
his
own
unscientific, i,
the
any
of
Japan
collection.
Richter's exercises,
effect as
if
But
each of these
in the training
and he made the organi-
1892, he resigned the leadership,
band, which has since become celebrated in
field.
Although Sousa has written operas and
litera-
manner he
a result one cannot trust
wild Indians were armed with a grand piano. of his
musical
in all
the tunes in the
eives us harmonies which mio^ht be found in
and the war-song
expected a work
had not Mr. Sousa, with a deplorable
excess of zeal, harmonized most of
thought would sound
227
sonsfs, his chief
claim to fame
lies
of the lighter kind, waltzes in his
marches.
It
said
is
that over twenty thousand bands in the United States alone play,
England and Germany, at present, one cannot escape hearing the well-remembered rhythm of the " Washington Post " or the " Liberty Bell " march. The prices received for these two marches varied somewhat. The composer sold the first for $35, the second has thus far netted him $35,000. This ^5 far more than any sum received for any composition menor play
at,
his marches, while in
tioned .elsewhere in this volume.
Sousa's comic office
point of view, and
more earnest work. form.
The
the waltz
is
have won much success from the box-
operas it
Two
is
pleasant to note that he
marches, however, are the fame of Sousa, exactly as the success of Johann or
To
Eduard
Strauss.
Nor need
write stirring rhythms, melodies
that one cannot shake out of one's
is
essaying
recent suites of his are quite graceful in
one disdain such a success. tired soldier
is
memory, tunes
that
make
walk and the popular concert audience tap their
not given to every one.
able capture of
the feet,
America may accept Sousa's remark-
Europe with
pleasure, without unduly exalting
it.
People abroad, as a whole, prefer Johann Strauss to Richard, but that does not
mean
can be enjoyed
that the former
in their
is
proper seasons.
the greater of the two.
Both
PLATE
VIII
GEORGE W. CHADWICK
IIIV
3TAJ^
>ioiwaAno .w aonoHo
CHAPTER
AND VOCAL COMPOSERS
OPERATIC, CANTATA,
may be examined
In this chapter
XI
the works of those composers
may have
who, whatever other compositions they
of
James Cutler Dunn Parker
of
intrinsic
composers
worth, but
to study
much importance Not only
(Fig. 64).
Parker was the earliest of
music thoroughly
in
He was Harvard
American school
born
in
any American
Boston, June
in
1848.
of
At
of social
music as a profession.
time
that
1828,
all
the native
As his era of one may call him
and graduated from
was deemed impossible
for
to take
up
consequence, Parker studied law for
three years.
At
mind
would not develop into a great
that he
works
are his
prominence and ample means In
the person
musical pedagogues. 2,
it
in
Germany.
teaching activity antedates that of John K. Paine, the father of the
won
In the domain of sacred
their chief successes in the vocal field.
music, America has a writer of
written, have
the end of
made up
his
legal luminary,
and
that time, however, he
that there was a career before
him
in the
realm of tones.
Three
years of study in Leipsic followed, under such teachers as Haupt-
mann, Richter, and
much
Rietz,
and
especially
Moscheles,
with
who
young American student in the days Returning when few Americans studied music in Germany. to America in 1854, Mr. Parker entered upon a musical career took
that
is
still
interest
in
the
(1904) continuing.
He
early organized a vocal club
became the organist at Trinity Church, was the organist also of the Handel and Haydn Society, and entered In the New England Conservatory as piano and harmony teacher. for part-singing,
this last capacity
Mr. Parker's influence has been extensive.
The
pupils that he has graduated during his long era of activity would
form a good-sized regiment.
Among 229
those
who
studied under him
THE HISrORY OF AMERICAN MUSIC
2 30
may
A. Preston, Fred. H. Lewis, Alfred D.
be mentioned John
Turner, Henry M. Charles H. Morse,
At
farther.
Dunham
— the
(Fig. 65), Allen
list
W. Swan,
H. Howe,
J.
might be extended much examiner at the New England
of celebrities
present Mr. Parker
is
Conservatory, in Boston.
Boston began as early as 1854, it was not until 1877 that he brought out a large composition. In that year the Handel and Haydn Society gave his " Redemption
Although Parker's teaching
Hymn,"
a cantata that has held
Nine years
ever since.
came
finally there
The
"
oratorio,
D. Parker does not attempt the
C,
J.
place in the standard repertoire
Parker (not a
The
"
was the next important work, and
"
small
a
its
he wrote a secular cantata,
later
John
" St.
King."
Blind
in
Man."
Life of
intricate
style
Mr.
Horatio
of
but combines graceful melody with sufficient
relative),
counterpoint to lend dignity to his work
— the juste milieu between
The last-named work was produced Handel and Haydn Society, April 14, 1895. "The Life of may be called Parker's best work. Although quite melodic,
the classical and the popular.
by the
Man "
work
fugal
not wanting in
is
its
numbers, the
chorus being a
first
Subsequently
well-developed fugue with a fine stretto as climax.
portrayal of effect '•
won
Resurrection the composer has
the
by soprano solo against chorus, as Rossini did
There
Inflammatus."
the
and excellent canonic writing occur.
expositions
fugal
portrayal
enter
voices
beautiful
in
ness, a desire
also
seven
the
of
is
to
the
In
a powerful
famous
in his
some masterly canonic writing
churches of
A
in^iitation.
Asia, in
in
which seven
tendency to oversweet-
be melodic and singable at
all
hazards,
is
the
only weak spot in this composer's work.
among
one
as
Just
the
D.
that
J.
C.
teachers,
as
well
feels
great
as
Parker should
among
be
classed
the composers
of
America, so Dudley Buck (Fig, 66) impresses one as a celebrity
among
organists and a famous instructor.
positions,
and
chiefly
He was
can readers. 1S39,
no
the
son
musical
when
by
of
a
his cantatas, that he
is
it
is
by
known
his
to
com-
Ameri-
born in Hartford, Connecticut, March
prominent merchant
instruction whatever
'he began, he
Yet
until
of
his
that city.
sixteenth
took up the study with so
much
10,
He had year;
but
ardor that
OPERATIC, CANTATA, AND VOCAL COMPOSERS
was obliged
his father
mercial
possible equipment
There he
in 1858.
When
Rietz.
him
followed
the there
young man all in his chosen profession, sent him to Leipsic studied under Plaid)', Richter, Hauptmann, and last-named professor went to Dresden, Buck to continue his work and now added organ year in
followed
Paris
this,
1862 he was a well-trained young musician, engaged as
in
organist at
Park Church,
the
became organist he came
at
Church
burned
Chicago, where he had
in
great
the
in
In
fire.
1872
Boston, where he was organist at St. Paul's, and in
to
1874 he went to
New
York, where he became Thomas's assistant
conductor and the musical director 1877, he
Subsequently Buck
Hartford.
in
St. James's
compositions
early
his
all
the
give
to
A
study with Friedrich Schneider.
and
regarding his com-
plans
his
determining
and,
career,
change
to
231
was appointed organist
position he retained
until
at
1902,
at
Holy
Ann's.
St.
Still
later,
Trinity, in Brooklyn,
when he became
in
which
organist at the
Brooklyn Tabernacle.
some of Buck's most important works are organ compositions, and his two sonatas, his " Triumphal March," and his pedal studies are known to most musicians in America, and Naturally
are sure to
remain
he wielded
much
extended
over America at a time
to
all
in
the
influence
standard
through
guide the taste of the multitude.
tion
"
also
came
at a
field
concert
his
when His
it
organist
which
tours,
was very important
first
"
Motette
Collec-
time when a better influence was required in
the vocal music of the church
passed in this
As an
repertoire.
and
in
in
Buck has been
America.
some points
sur-
composition by our
of
modern native tone-masters, but he has been a very healthful influence in music in America at just the right time, and it may be borne in mind that if he had been too radical in his forward steps he would have been beyond his public he would have had no influence at all. We have said that Buck's most ambitious work was done in the cantata forms. As long ago as 1876 this composer gave a choral ;
contribution to the Centennial Exhibition
in
Philadelphia, which
was sung by one thousand voices under Theodore Thomas's tion.
Even
before this he had published (in 1874) the
"
direc-
Legend
of
THE HISTORY OF AMERICAN MUSIC
23:
Don
Columbus," of
"
Asia
male voices,
for
(founded upon Sir
elaborate of
and
The Voyage of deserves mention, and " The Light Edwin Arnold's poem) is the most "
Munio," a very successful secular cantata.
All of these works are popular
Buck's cantatas.
all
are melodious.
all
Among
the most effective of his compositions for the church are
"The Coming
the series of four short cantatas, "
Story of the Cross,"
The
David."
Christ the Victor," and
three are historically
first
of the
King," "The
The Triumph
"
of
and thematically connected;
them the composer has consecuthe main events tively depicted in
relating to the prophecy, the birth,
the death, the resurrection, and the
ascension of Christ, presenting some-
what dramaticallv, within a suitable and with moderate musi-
time-limit, cal
the chief episodes of
difficulty,
of
David"
The Triumph
"
the Christian year.
happening
treats of a
and separate from the other
tinct
And
three.
the
in
same
class with "
the cantatas also belongs the
night Service for Fig. 64.
—
C. D.
J.
In
Parker.
Many daros,"
of his compositions, "
from Shelley's
"
Ride," besides a long
Apollo Club
list
of
On
"
Prometheus,"
"
Chorus
"
Sleeping,"
Love-song,"
Song," taste.
Munio,"
numbers
Crossing the "
Many
The of
Frequently "
as
for
"The Nun
of Spirits
many thirty,
"Sunset,"
"
Columbus
"
Ni-
of
and Hours
"
Paul Revere's
His
years director).
and among them are
"The
Silent
World
is
The Tempest," " The Bedouin Blacksmith," " The Creole Lover's
these songs are too saccharine for the
Mr.
mu-
"
Bar,"
Village
male-voice
the Sea," and
songs and ballads number upward of such well-known
Year's Eve."
male quartettes, were written for the
which he has been
(of
Mid-
Buck has achieved fame.
notably "Twilight,"
King Olaf s Christmas,"
New
the field of
Mr.
sic
dis-
Buck
is
(English
his
and
own
librettist.
German),
"
The
In
purest "
Don
Festival
OPERATIC, CANTATA, AND VOCAL COMPOSERS
Hymn
and
,"
"
On
the
words are original with
the
Sea,"
233 the
composer. Buck's setting of the Forty-sixth Psahn, for soH, chorus, and orchestra,
Boston
produced by the
first
Handel and
"Marmion"
Society of
symphonic overture
1873, requires mention, as also the
in
Haydn
work which Thomas first produced with the Philharmonic Society of Brooklyn. His works have won quite as much success in England as in America, his " Light of Asia " having been given in London with such artists as Nordica, to Scott's
Lloyd, and
(1880), a
Santley in
pupils as Harry
Rowe
reviewers consider
W. H. Buck
too suave and too popular to rank
condemned
"
to
Because thou !
be no more cakes and
there
John Hyatt Brewer,
Neidlinger.
with the best American composers. shall
a teacher he has had such
Shelley, C. B. Hawley,
Frederic Grant Gleason, and
Some
As
the cast.
ale
art
Must we be
"
the dramatic dissonances of Loeffler and
virtuous eternally
Van
der
modern school which countenances them ? In literature one may enjoy Browning and yet not discard Tennyson a taste for Wordsworth is not considered incompatible with a delight in Swinburne. Let us have some of this toleration Stucken because there
is
a
;
in
music
too,
In the
and enjoy the suave as well as the
domain
of
opera America has as yet done but
are hosts of light operas which,
charms
of the
cities.
Of these musical
earnest
field,
heroic.
chorus
girls,
combined
little.
witli a lavish display of the
have won box-office success
in the large
In the
more
which yields the composer no reward except the
faint
history need take no note.
hope that posterity may appreciate him, there have been,
no
There
startling successes.
Chadwick has made
as yet,
the experiment of a
sacred opera, "Judith," Paine has completed his romantic "Azara,"
and Coerne has written two operas already spoken lot of a
composer
of foreign birth,
and operatic leadership, was born
1862 (Fig. rosch.
22).
The son
the
Walter Damrosch found
Hawthorne,
Walter Damrosch, already spoken tral
It fell to
however, to find a subject well
suited to the people of the United States. inspiration in the noble novel of
of.
of in
"
The
Scarlet Letter."
connection with orches-
in Breslau, Silesia,
January
30,
His father was the celebrated Dr. Leopold Damstudied music
first
with his father and afterwards
2
THE HISTORY OF AMERICAN MUSIC
34
Although born abroad, he has so thoroughly identified himself with music in America, particularly with the Wagner propaganda here, that it is difilicult to think of him in
Dresden with Draeseke.
Coming
other than as an American composer.
conducting German opera
his early childhood,
New York
to
in
Metropolitan
at the
Opera House, leading symphony orchestras and the Oratorio Society, marrying the daughter of so prominent an American as James G.
Damrosch has been steeped
Blaine,
years that
"The the
it
was natural
to find
Scarlet Letter
error
of
treating a plot
The
decidedly German.
his first great work.
It
thoroughly American
in
Few
Lathrop, the son-in-law of Hawthorne.
done
death before the
to
A
"
manner
a
liberties
were taken
was very curtly the Rev. John Wilson
Pearl, however,
Little
rise of the curtain,
—
finishing her story in these lines
committed
was made by George Parsons
libretto
with the powerful novel.
many
for so
life
seeking expression in his music.
it
was
"
American
in
child to thee was born,
Bringing disgrace and scorn.
Heaven's wise decree
Hath taken
thy daughter away,
Wafted on wings of Death
which makes short work ters.
of
More important than
one this,
of
kill
Hester
its
"
upon the
Romeo and
Juliet
For
all
"
pillory,
has
it
however, one
that,
finishing off so grand a character as
rebel at the idea of
As
finally dies
one lover and save the other; they must go
together like a brace of ducks.
Prynne by
—
Hawthorne's charming charac-
with Dimmesdale, because ever since
been impossible to
"
suicide, in the conventional
manner
may
Hester
of operatic heroines.
regards the music of this most important operatic work of
Damrosch
time in America, one cannot grow very enthusiastic.
has been steeped in the Achilles,
and there
vulnerable. ried out
Wagner
cauldron, but not to the depth of
good deal beyond the heel which remains The Wagnerian idea in "The Scarlet Letter " is caris
a
by leit-motiven (but not very many
ous flow of music
(a
of these),
very few exceptions were
heavy and dramatic scoring, and by the use {melos) rather than
direct
melody.
by
made
its
continu-
to
this),
of dramatic
All this
is
by
recitative
well enough, but
OPERATIC, CANTATA,
Wagner this is
AND VOCAL COMPOSERS
235
revelled in sharp musical delineation of character,
Damrosch
introduced,
A
scarcely exhibited a trace.
little
— rather too contrapuntally, — and
is
and
of
psalm-singing
a proper touch;
but to have a band of Puritans marching about, in Massachusetts, "
Time we go a-Maying," is stretching probOnly Morton's roisterers at Merrymount would
circa 1650, singing
somewhat.
ability
'Tis
have done anything
like that.
Nevertheless this madrigal, the forest music, and the prayer of
Hester are the
finest
though the opera dies death.
The
of the
finale
un-Puritan displaying
opera the
natural
contrapuntal
chorus
the opera
of
much
gods
the
too soaring, and
heavy enough Wallialla
in
than a simple pair
A
The whole
skill.
is
to
rather
Puritans.
of
further proof of Walter
Americanism
rosch's
most
is
although
character,
in
orchestra
suit
a
soaring,
is
the opera, and deserve to live even
bits of
was
when he devoutlv wrote a Te Deum," giving thanks
"
Damgiven
Manila for
the
beginning of our national worries in the
Philippine Islands.
At
the
Fig. 65.
— H.
M. Dunham.
present time he has turned to a less national topic and one
made an opera out
whose
intensity
may
of four acts of Rostand's "
the text being, by that well-known writer,
has also become conductor of the
which
him well. He has Cyrano de Bergerac,"
suit
W.
J.
Henderson.
New York Symphony
He
Society,
his father founded.
work as "The Scarlet Letter" to the light operas of America. A great number have been written of which a few stand forth as worthy. One of the best composers in the less ambitious school is Edgar Stillman Kelley. His largest work is called " Puritania." Kelley was born in Sparta, Wisconsin, It is
April
a long step from such a
14,
1857.
He
is
of old
and maternal ancestors having
American
stock, both his
paternal
settled in this country before 1650.
THE HISTORY OF AMERICAN MUSIC
236
His collegiate education was interrupted by
Tom,
dental hearing of Blind
negro
a half-witted
An
health.
ill
acci-
turned
pianist,
though he inherited some musical gifts from his mother (Mary C. Bingham- Kelley), who was his He went abroad and studied in Stuttgart, graduearliest teacher. He had become someating from the conservatory there in 1880. his attention seriously to music,
Eddy
thing of an organist before that, thanks to Clarence
whom
he studied
in
came from Max
sition
On musical
His
West.
first
the
first
in
well-equipped musical
critic
in the
and played by
McKee
modern
Strange, bold, and
Macbeth."
"
Yet backed
was, but scarcely of a popular cast. Parrott,
at Stuttgart.
important work here was a setting of dramatic
to Shakespeare's
music
Royal Court Conductor
Seifriz,
San Francisco, strong and beneficent influence upon California
He was
life.
but his chief knowledge of compo-
;
from Germany Kelley settled
his return
where he exerted a far
Chicago
with
financially
Rankin, the tragedy with
it
by John inci-
its
San Francisco. Local pride may have helped this somewhat, for the same music But this was only the has never gained a foothold in the East. beginning. C. M. S. McLellan offered him a libretto to set to
dental music ran successfully for three weeks in
music, and the result was his opera of in
Boston
summer
in the
One may speak let
Letter," for
Puritania,"
of " Puritania " as a light
pendant
life,
The
to "
Scar-
but in a playful vein.
be heartily praised as being as good as anything
achieved by an American in comic opera up to libretto has
produced
first
1892.
of
also deals with Puritan
it
The music may
"
an indelible
Salem witchcraft
craze.
fault;
A
it
its
time, but the
deals with witch-hunters
thinking auditor will always regret see-
ing so awful a subject used as a comic libretto.
The
century can never furnish the laughter of another. reads history, the
and the
martyrdom
of Giles
tears of
To
one
one who
Corey and Rebecca Nourse
would forbid ever jesting about Salem witch-finders. Kelley
and "
may be
his comical
called the
symphony,
"
most graceful
class
his of
Chinese
work
of
song,
"
our musical humorists,
Gulliver in Lilliput," his Chinese suite,
Aladdin," which has been played in
and
of
Germany very
Lady picking
successfully,
Mulberries,"
which he may be recognized as the
indicate
a
originator.
AND VOCAL COMPOSERS
OPERATIC, CANTATA,
He makes most own
237
ingenious use of the Chinese five-toned scale (our
diatonic scale with the fourth and seventh notes
left out),
and
Oriental critics have admitted the genuineness of his treatment of
kingdom.
topics relating to the celestial
Kelley must be characterized
But, although
by
his delicate fun in
music
(a
and foremost
first
Bret Harte perhaps), his
musical
Macbeth " music may be extreme and too radical, but it is apt and sincere and the incidental music which he added to the dramatization of General Lew Wallace's "Ben Hur" is not only most dignified but speaks of much erudition, since the composer has evidently studied the Arabian modes and the commentaries (not always trustworthy) on the ancient Greek music. Mr. Kelley has recently done excellent service to music by his lectures in university extension, and he is at present instructor in composition in the New York College of Music. Much more popular, although also much more conventional in serious works are also musicianly.
His
"
;
his music,
is
Reginald de Koven, who has composed several light
His works are not those which create a
operas and a host of songs.
new school fluency, his
make musical history, yet his melodic charm, his tact and grace, may not be doubted. He was born in or
Middletown, Connecticut, April his father
—
his final literary
at St. John's College, Oxford,
He had and
being made
England, where he took his degree
Frankfort, Vienna,
in
Florence,
Vanuccini, Genee, and Delibes
On
exceptional advantages
classical studies
Before this he had studied music
he went to study.
1859, of a distinguished family,
being an eminent divine.
in his education,
1879.
3,
may
in
Stuttgart, afterwards
and
Paris,
further
for
among
be mentioned as
America success soon came to him, and has continued with him ever since. Such operas as " Robin Hood," " Don Quixote," " The Begum," and such tremendously popular songs as " Oh, Promise me," show that this composer is at least in close touch with his public. " Robin Hood " has been sung over three thousand his teachers.
his return to
times in the last ten years, and of "
Oh, Promise
me
"
it
is
said that a full million of copies
have been sold
them
!
De Koven and
has composed a
dozen light operas.
All of
them can one marked success
find
anything cheap or meretricious.
in a
manner which does not depreciate
of
are graceful
fluent,
and
in
To win
none
such a
art or public
THE HISTORY OF AMERICAN MUSIC
238 taste
is
worth
its
meed
even
of praise,
if
his
works bear a strong
family resemblance to each other, and are not epoch-making.
We have stated that a quarter-century of may
musical affairs
composer
active
work
America's
in
be considered sufficient naturalization for any Victor Herbert has nearly completed a
of foreign birth.
He
score of years in America.
a famous
of
is
Irish
family, his
grandfather being Samuel Lover, the celebrated novelist and poet,
and was born
many, a
in
seven years
at
famous
He was
sent to Ger-
be educated in music.
He became
Dublin, February of age, to
i,
1859.
and while a mere youth was the principal
violoncellist,
player of this instrument in the Court Orchestra at Stuttgart.
He
came to the United States as solo violoncellist with the Metropolitan Opera Company in 1886. Since that time he has been connected with the Thomas, Seidl, and other orchestras, sometimes as violonIn 1894 he became bandmaster of cellist, sometimes as conductor. From 1898 Herbert was the the Twenty-second Regiment Band. conductor of the Pittsburg Symphony Orchestra, succeeding Archer and resigning
in that position,
it
in 1903.
Although Herbert's American reputation rests chiefly upon his light operas, he has done nobler work. He has written a short oratorio, " The Captive," for the Worcester Festival Association, two excellent concertos orchestral works. banalities that finds, to
too
much
in his light
and orchestra,^ and other
man would
Naturally such a
mark
be sure,
for violoncello
light opera
of
operas the
trivial "
not descend to the in
One
America.
Topical Song," the
conventional waltzes, as set as the stage smiles of a soubrette, and the inevitable marches that parade cohorts of pretty chorus girls,
but one also finds clever and musicianly finales and very practical orchestration.
Characteristic
American
topics one does not find in
Herbert's music, either orchestral or operatic, yet his fluency and
brightness have had their effect upon the American stage, and his orchestral
programmes
musical taste of that It
have worked an advance
in the
city.
should be mentioned here that a young American musician, Mr.
Homer Moore, ^
in Pittsburg
of St. Louis, is at present writing
Herbert's Second Concerto for violoncello
best existing works of this school.
is
probably his
finest
nothing work, and
less is
than
one of the
OPERATIC, CANTATA, AND VOCAL COMPOSERS
239
an American trilogy; three operas founded upon American themes.
He
says of
them
:
—
In these works
"
I
am
trying to so use our national history, tradi-
manners, customs, superstitions, and beliefs as to bring
tions, legends,
out thoroughly their dramatic significance, and to reveal, not so history and historic characters, as social atmosphere that prevailed at the time and characterized the of
who
those
structure,
and the forces
minds and opinions
did things and were the
upon which
foundation
much
temperament,
our etc.,
national
have been
built."
The
three operas are to be entitled
"The New World," "The and " The Puritans." Of
Pilgrims,"
these
the
present writer has been able to examine a portion of one opera only, but in that
own
both the plot (Mr. Moore's
and
its
fairly
libretto)
treatment promised something
worth
The scheme
while.
somewhat
however,
Guiding
motives
are
Wagnerian.
too
copiously
ployed and definite melody
nent enough.
It is
is,
is
doubtful
em-
Fig. 66.
— Dudley
Blck.
not promiif
in a
country where single operas by
native composers (unless they are "comic") are looked at askance, a native trilogy will have
any chance
of success.
Yet we mention
Moore's work as an example of the amount of striving of
our country, east and west, to bring forth something
in
music
in "
every part
American
"
— and something gigantic!
Another operatic composer, who, like Herbert, has won his title of American by years of work in this countr\-, is Bruno Oscar Klein, who was born in Osnabruck, Hanover, June 6, 1858. He has been here since 1878, although occasionally he has
Germany,
as
been chiefly
organist, pianist,
in
New York,
made concert
and composer.
tours in
His teaching has
where he has been connected with several His
schools including the National Conservatorv of Mrs. Thurber. single grand opera
is
not of especial import to American history,
being founded on Scott's novel and entitled
"
Kenilworth."
It
was
THE HISTORY OF AMERICAN MUSIC
240 performed
Hamburg
in
their place in the standard repertoire.
and have taken
Returning poser,
we
to the cantata field
and
an excellent example
find
which has only recently begun cal centres,
had an American
Klein's shorter compositions are of a high order of
performance. merit,
1895), but has never
(in
— Philadelphia.
Jersey City, January
musicianship
in a city
ranks of musi-
William Wallace Gilchrist was born
good music from
Gilchrist heard
of sturdy
American com-
to take its place in the
1846,
8,
to the strictly
Both
his parents
in
were musical, and
His musical
his earliest childhood.
education was gained entirely in America, chiefly at the University of Pennsylvania,
under Dr.
Hugh
A. Clarke.
He was
gifted with a
good baritone voice and sang in public for some years. His setting of the Forty-sixth Psalm won the $1000 prize offered by the Cincinnati
In addition to this, he has
Festival Association.
won
prizes
from the Abt Male Chorus of Philadelphia, and the Mendelssohn Glee Club of Gilchrist's
music, and
it
New
York.
teacher.
Professor Clarke,
must be said that
with obedience.
One
is
a devout formalist
in
his pupil follows in his footsteps
constantly sees in Gilchrist's compositions a
strong composer fettered by contrapuntal rule and by an evident desire not to stray from the highroad of art.
There
thing astonishing, but rather a constant display of
and always
sometimes longs
correct, ingenious,
and ease
skill
it
in is
and commendable; but one
for an outburst of ferocity, for a touch of Loeffler's
dissonance and freedom.
In sono^s Mr. Gilchrist has achieved
genuine successes, especially
some
never any-
Whenever counterpoint can be used
the leading of voices. present,
is
in the gentler
He
moods.
excellent Episcopal music, for in this his dignity
trapuntal interweavings are perfectly in place. orchestral composers, and has written a
and much chamber-music.
He
is
has written
and
his con-
also one of our
symphony, an orchestral
All together, he
is
some
suite,
a thorough musician, a
well-equipped composer, with melodic, contrapuntal, and rather formal In his school he
tastes.
he
is,
is
the equal of any of our composers, and
as already intimated, an unquestionable
We
now come
to
home
product.
an American composer (and not a Catholic)
whose chief work is neither a cantata nor an opera, but a mass. Benjamin Cutter is the composer who has won this unique distinc-
OPERATIC, CANTATA, AND VOCAL COMPOSERS
He was
tion.
father
his
born in Woburn, Massachusetts, September
He
studied vioHn with JuHus Eichberg, in Boston,
and harmony with Emery,
New England
in the
Then
Conservatory.
Germany, Seifriz being his teacher Mr. Cutter became a good violinist, and was for a
further study in Stuttgart,
of composition.
time a life
1857,
6,
being a physician of high repute with an inclination
toward music.
came
241
member
of the
Boston Symphony Orchestra.
has been passed wholly in Boston, where he
and analysis
in the
New England
now
teaches
As
Conservatory.
His musical
harmony
a teacher his
work averages very high, and he has graduated hundreds of pupils. But his mass in D entitles him to rank with those who have added something permanent to the American repertoire. It is lofty and majestic in thought and sufficiently free to be classed with the modern Cutter's setting of
school.
orchestra,
is
of sufficient
chamber-music
is
"
Patrick Spens," for chorus and
Sir
dimensions to be called a cantata.
voluminous.
has pushed aside the muse.
His
In recent years his pedagogical
He
work
has written some standard works,
notably a text-book on harmonic analysis and a series of exercises in
harmony
And
work on violin playing, " How to Study Kreutzer." we may speak of one of the younger American com-
also a
;
finally
posers of cantata, who, contrary to the usual custom, studied abroad,
Homer
not in Germany, but in France.
Albert Norris was born in
Wayne, Kennebec County, Maine, in i860. After a course of musical study at the New England Conservatory in Boston, he went to Paris,
where he studied under Dubois, Guilmant, and others on returning from
Norris,
years.
where he published a
He
method.
v.-ork
for four
Paris, settled as a teacher in Boston,
on practical harmony based on the French
has written some romantic songs, but his chief works
are two cantatas.
The
first, "
Nain," would scarcely entitle him to
rank with our chief cantata composers, but the second, while not be classed as a masterwork,
is
at least
an
it
can-
effort to contribute
American stock. Norris has turned to Walt Whitman for his inspiration in this latter composition, and surely a more American poet would be hard
something;; oriorinal to the
"
to find. is
The
Flight of the Eagle
" is
bold, not to say blood-curdling, in
then
Whitman R
is
the
some
name
of the cantata.
It
of its progressions, but
as unconventional as shirt-sleeves.
Much
play
is
THE HISTORY OF AMERICAN MUSIC
242
a series of diatonic major seconds rising in a continuous
made with scale. is
This device
is
used enough to
not certain that eagles
fly in this
Of
the device cannot be denied.
with
well-developed
its
violin
call
rather
one
among
is
the
inclined to
Norris's songs
obbligato,
believe
song-composers
a guiding motive.
that
than
as all will
do good work
acknowledge
if
in the
much this
Protestations,"
is
the
best,
grace and origi-
composer belongs
among
smaller forms,
"
perhaps
is
those larger works which require sustained effort. cleverly, to
It
manner, but the originality of
although some of his later songs show so nality that
it
the
creators
To
write songs
of
not to be despised,
they study the song-albums of Schumann,
Schubert, or Robert Franz.
I
PLATE
IX
KING'S CHAPEL,
BOSTON
CHAPTER
XII
AMERICAN SONG-COMPOSERS In 1892, just before his death, Robert Franz, one of the greatest of song-composers, said to the present writer regarding the smaller
vocal forms in music: "
—
In this country they looked quite condescendingly upon these
small forms, taking the dentally in music.
foundations
of
silly
notion that these forms arise only
Yet the song-form
our
art
;
know
I
one
really
is
you share
that
with me." In another letter (dated "
Until
March
now they have looked upon
shoulders, and yet there rests
music.
moment
As
regards
that
I
myself,
I
upon
it
this
he says:
my
honor"
conviction
—
form with a shrug
of the
one of the chief factors
of
have never regretted for a single
have devoted myself exclusively
music, and with position of
23, 1889)
the chief
of
this
inci-
have
predecessors
lifted
branch
to this it
into
its
of
proper
(Fig. 67).
These words serve as a fitting introduction to those American composers who have won their chief reputation in the domain of songs. What the orchestral and cantata composers have done in this direction
we have already seen
;
but there have been some com-
posers who, attaining only mediocrity in the orchestral
field,
have
reached almost to genius in the production of smaller sketches.
His cantata Such a composer was Ethelbert Nevin (Fig, 68). entitled " The Quest " is anything but satisfactory, and yet this same composer has brought forth songs that are as dainty, as inspired, as any that have been composed in this country. Ethelbert Woodbridge Nevin was born at Edgeworth, Pennsylvania, near Pittsburg, November 25, 1862. His father was a literary
man and
editor of a
newspaper
in the 243
last-named
city.
He
inherited
THE HISTORY OF AMERICAN MUSIC
244
his musical tendencies
the
first
from his mother, who
grand piano that ever was seen
country.
The boy showed an
infancy.
His father took him abroad
p-r
years' study in
— Letter
Dresden.
lowed further study under
owned
section of the
inchnation toward music even in his in 1877,
and he had the benefit
/fh^ c^;i. ULruf^c /rnt^k
Fic. 67 a.
two
in that
o^tn sfiLc^Jpu^k li^^i^Sd/^Qi-L
pUAi.i'i^j'
of
said to have
is
Juj-^ru^
()aj;e^
^^
by Robert Franz.
Returning to America, there
fol-
Lang and Stephen A. Emery, in Boston. After that there were some years of music-teaching on his own account, in Pittsburg, until enough money was saved up to take B.
J.
a thorough musical course in Berlin.
Three
years, 1884-86,
were
AMERICAN SONG-COMPOSERS spent in the Billow,
Bial,
German
capital,
during which Nevin studied with
To
and Klindworth.
ascribed nearly
all
245
the last-named pedagogue he
of his musical abilities.
Klindworth as a great inspiration
to all
He
constantly spoke of
who came
near him.
Klind-
-^'
Q
X
0%
Fig. 67
h.
worth's aim was not only to
and he held that one
— Letter
by Robert Franz.
make good
result could not
musicians, but cultured men,
be reached without the other.
Billow seems also to have appreciated the talent possessed by Nevin,
and the American student was admitted into that master's class."
" artist s
THE HISTORY OF AMERICAN MUSIC
246
America again, this time settling in But his was a restless career, and a few years afterward he Boston. went to Paris, achieving good success there as a teacher. A year later he reappeared in Berlin, working so hard that his health broke down, and he was ordered to Algiers. After that came concert tours, In 1887 Nevin returned to
piano
His attack
country.
recitals, in this
of
nervous prostration
caused the postponement of some of these concerts, but in 1894
Those who heard him play at these while he had not a technique comparable
he was able to appear again. concerts realized that to
the
Rosenthals,
D'Alberts, or Paderewskis of piano work, he
had a most poetic conception,
In these concerts both his piano works and
delightful interpreter. his songs
made
to give a
list
himself
of
from mawkishness, and was a
free
the best possible impression.
Nevin's songs.'
Suffice
it
is
not necessary
to say that
he devoted
(with the exception above noted) to the smaller forms of
music and with the most decided success.
Schumann;
the poetry of
German
It
He was
writers.
His roving
life
his
His piano works have
all
songs are like the Lieder oi the best
a master of
went on;
\-\\'s>
genre.
Florence, Venice, then Paris again,
America once more, followed in quick succession. Some work in New Haven seemed to promise a permanent position in America when suddenly there came death! The constant study, the fever of composition, the ceaseless travel, had done their work, and in 1901 Nevin's short career ended. One can pay tribute to him as being one of the most poetic of American composers and to him might be applied the epitaph which Grillparzer wrote for
and
finally
—
;
Schubert
:
—
" Fate buried here a rich possession, " But yet greater
promise
The If
lesson of Nevin's
work might
!
profitably be taken to heart.
only there were less of striving to create symphonies that no one
wishes to play or hear, of operas that show straining and labor in
every part,
forms
!
and more
The
of
chief trouble with
an ambition that o'erleaps ^A good Composers."
genuine unforced music
analytical
list
most
itself.
may be found
of the
In justice in
in
the
smaller
American composers is to the memory of Nevin
Rupert Hughes's "Contemporary American
AMERICAN SONG-COMPOSERS it
ou^ht to be added that he
Even
were misplaced.
It
is
that his efforts in the larorer forms
felt
the cantata mentioned at the beginning of
was not published or performed during the composers
this sketch life.
247
a posthumous work.
Close to Nevin, perhaps his equal in some ways,
Clayton
is
whose smaller works are known not only through America, but are popular in Germany and England as well. He was born in Newcastle, Delaware, November 24, 1857, and as a boy he taught himself to play the piano, with the usual weak result. Study at the Newcastle schools and at Rugby Academy in Wilmington, Johns (Fig.
69),
were preliminary to an intended entrance into Princeton University.
The boy wished
McCallmont
study music, the father (James
to
A
Johns) wished him to study law.
compromise was effected by
which both plans were given up and architecture substituted, and
young man entered an
the
He then came
he spent three years. of
Technology,
in
architect's office in
pursuance of
awakened
Boston
to
Philadelphia, where to enter the Institute
profession,
this
but the musical
dormant passion for that art. Architecture has been described as "frozen music," and with Johns it had already begun to thaw. This was in 1879, and being now of age and free to choose, the young man went to William H. Sherwood for piano lessons, and to influence of Boston
William
F.
Apthorp
experience with the
instruction
for
new
his
all
in
in
under John K. Paine.
In
where he studied piano under Grabow, position under Kiel.
He
recommend
and (continuing with Sher1882 Johns went to
Raif,
Berlin,,
and Rummel, and com-
returned to Boston in the autumn of 1884,
and has resided there ever
since.
present Mr. Johns busies himself with teaching, composing,
and occasionally with a concert tour here and recitals of
his compositions in
and many other
and some works will
months'
piano study) he went to Harvard where he took the musi-
cal course
At
Two
pupil led both these teachers to
his devoting himself entirely to music,
wood
harmony.
be judged.
cities.
is
He
has given
Boston, Philadelphia, W^ashington,
Although he has written a few choruses
for string orchestra, It
there.
it
is
true that the Boston
not by these that
he
Symphony Orchestra
once performed two movements for string orchestra
(a
berceuse
THE HISTORY OF AMERICAN MUSIC
248
and
with
scherzo
a
touches with muted violins, but at least
much
not too
was
in the
carillon-like
of
made no
these
The berceuse had
impression.
decided
by Johns, but
trio)
usual
the
very-
saccharine
had direct melody and
it
The
complex development.
scherzo with trio
accepted song-form, dainty and delicate enough, and a returning passage was ingenious.
after Liszt's discordant
"
Mephistopheles
"
Coming, as
movement
phony), the work was welcome, but taken by
it
Faust
("
"
did,
sym-
only a mag-
itself it is
nified song-form,
Mr. Johns's piano works are practical, melodic, and interesting, but his songs ful,
in
elegant,
overtop them, and with few exceptions are grace-
He
and unforced.
has written over a hundred of these,
He
English, French, and German.
sion, but is
something
He knows how
to
does not voice intense pas-
an American Mendelssohn
of
choose his subjects
well,
and
spite of
that "
Du
it
some day
try his
hand
at
Herford's
Arthur Whiting's excellent treatment
was made for Clayton Johns.
bist
wie eine Blume
"
— who
It is
"
?
Dobson,
to be
Floriana,"
of the
hoped for,
in
theme, one feels
Of course he has
has not
this field.
in setting
Herford, or Arlo Bates he has reached perfection. that he will
in
set
Heine's
This poem has been
more frequently set to music than any other. There are nearly three hundred settings known, and more are constantly arriving. But Johns's setting has a raison cfetrc, for it is very refined and fitting to the poem. It may be mentioned also that Johns's compositions are known in England, where some of his part-songs and a chorus for female voices and a string orchestra have been sung and played with much The reprints of his songs also find a good market in Gersuccess.
far
many.
All together, he, like Ethelbert Nevin,
by not attempting more accomplish.
At
times
than
he
could
he reminds one of
also delicate rather than intense.
has
won
and artistically Robert Franz, who is
easily
The accompaniments
songs are especially praiseworthy, for he does not become this part of the song, nor,
success
of Johns's trivial in
on the other hand, does he ever write
piano compositions with vocal attachment, as Jensen and even
Richard Strauss have sometimes done. Since we have spoken of the great song-composer Franz, in
FIG.
68.
— ETHELBERT
W. NEVIN.
AMERICAN SONG-COMPOSERS
251
we may speak of a man who exerted much influence days when Boston's classical taste was forming, and who was
this chapter, in the
the strongest representative of Robert Franz in this country.
Dresel was a foreigner, for he was born in Andernach, but he lived
America nearly
in
Massachusetts, July
He
1890.
26,
forty
years,
not only
dying taught
upheld the standard of classical music
but he
in
in
Otto 1826;
Beverly,
at in
Boston,
America,
at
a
time when Dwight, Thayer, and a small band of pioneers were
New England away
striving to lead
from
eternal psalmody.
its
wrote a book
though
little
of
Lieder
duced
up
Bach's
made ment
"
a to
was one
to its time,
al-
of the
work
in vocal
been pro-
He
America.
in
that,
known, was one
most sterling things that had,
Dresel
edited
Well-tempered Clavichord," piano
great
Handel's of the
"
accompani-
Messiah," and
moving
musical
growth
America
a
little
forces in the
began
that
in
over a half-century
ago.
Although,
George
L.
speaking,
strictly
Osgood
should
be
Fig. 69.
— Clayton
Johns.
classed with the prominent teachers of America, yet his
song compositions are
sufficiently
important
work has not been recognized by those who have heretofore written of American compositions. Osgood is one of the finest melodists that America has ever possessed, and the accompaniments of his songs and the harmonies of his part-songs, are among the most fluent and singable in our repertory. His part-song, " In Picardie," his "Wake to be treated of here, particularly as that portion of his
not, but hear
me. Love,"
which does not
cloy,
Few composers have
may
be cited as examples of the sweetness
and which
is
not akin to musical vulgarity.
so tastefully united the popular and the classi-
cal as this excellent musician.
George Laurie Osgood was born
in
Chelsea,
Massachusetts,
THE HISTORY OF AMERICAN MUSIC
252 April
1844
3,
—a
who landed
tan,
Harvard
Salem
at
1866.
in
descendant
lineal
of
1632.
in
In college he was conductor of the Glee Club
of the orchestra, with inclinations
and
John Osgood, the PuriHe was graduated from
indicating a musical career.
and
from the
faculties
start
1867 he went to Berlin for the
In
study of composition under Haupt, and vocal expression under SieIn Halle he formed an intimate friendship with Robert Franz.
ber.
He went
to Italy in 1869,
and
for three years studied the art of sing-
In 1871 he repaired to
ing with Lamperti, in Milan.
gave a series of concerts other
in
Germany, and
Vienna, Leipsic, Dresden, Berlin, and
Returning to America, he soon made an engage-
cities.
ment with Theodore Thomas, and connection with the
Thomas
traveled through the country in
Finally he settled in Boston,
orchestra.
where he has become celebrated as a teacher, composer, and conductor.
In 1875 he
assumed the directorship
a promising choral organization then in refined of the
its
singing, aroused
its
most noteworthy clubs
Among
third year,
and soon
enthusiasm, and gave to Boston one in its
Osgood's direction the perfection throughout America.
its
of the Boylston Club,
Under Mr. performances became known
musical history.
of its
many works
his
are a
"
Guide
in
the Art of Singing," a volume of two hundred pages, already passed
through eight editions, and numerous choral works
for concert
and
church.
Boston has been peculiarly rich Frederic Field Bullard (Fig. 70)
in
is
song-composers,
not the
Boston, September 21, 1864, and was at of chemistry,
first
least.
among whom
He was
born
in
destined for the science
studying in this branch at the Massachusetts Institute
Technology when twenty-three years of age. But finally he turned to music as his life-work, and, at twenty-four years of age, he began a four-years' course in composition and organ playing, at the Munich Royal School, under Rheinberger. This Ger-
of
man
teacher (Fig. 51) almost deserves a chapter to himself in an
American
when Charles D. Carter, of Pittsburg, and George W. Chadwick studied with him (they were, we think, the first of the American band), an endless procession, including H. W. Parker, Arthur Whiting, Henry H. Huss, history of music, for, since 1878-79,
F. F. Bullard,
Wallace Goodrich, and others, has passed through
AMERICAN SONG-COMPOSERS Munich and come back tion
through his influence.
The
in
composi-
recent death of Rheinberger will be
upon American composition of any other European teacher. Bullard his public reputation rests chiefly upon
has exceeded that
To
return to
:
songs and part-songs.
his
which
harmony, marvel
when
is
tion
He
holds well to the laws of form and
a
days
these
in
many compos-
so
ers feel that every
But
United States perfected
as a distinct loss, since his influence
felt
six
to the
253
emo-
must break at least rules of harmony. does
Bullard
not
become weak through harmony indeed, his strongest charm is his ;
virility
and
straightfor-
His drink-
wardness.
ing-songs suggest wine rather
than
lemonade,
and when he deals with warlike
themes he has
a vikinjj vio^or that has
often been felt
Apollo
at
the
concerts
in
Boston.
has
Bullard w^orked in
some
larger forms.
also of the
He
written a series of
Schirmer,
New
Fk;. 70.
— Frederic
Field Bullard.
has
Christmas and
Easter cantatas (published by
York), and has edited several collections of songs,
particularly a college song-book for his tute of Technology.
There
is
own Alma
also a large cantata
Mater, the Insti-
and even a sym-
phony in manuscript, but of these we cannot speak, as they have not yet emerged from the composer's desk. But as it stands, Bullard is a fine type of the American in music, sounding an individual and attractive note.
— THE HISTORY OF AMERICAN MUSIC
254
Frank Lynes
He was
is
another of the Boston group of song-composers.
born in Cambridge, Massachusetts,
at first at the
some study
of
New
May
England Conservatory.
1858,
and studied
Subsequently there was
organ and piano with Mr. B,
J.
Then came
with Professor John K. Paine.
16,
Lang, and harmony
the Leipsic Conserva-
tory with Reinecke, Richter, and Jadassohn as teachers.
followed the highway of music, not seeking any
He
has
new and dangerous
and choruses are well constructed and very singable. He is a good worker in the small forms, which, as we have already seen, are by no means to be passed over in judgpaths, but his songs, piano works,
One
ing of the music of a country. to
upon
As
aesthetic principles.
American composers
:
"
—
may
be objected
the words have been set by other
manner, the impeachment here
in a similar
may be considered as against The poem is by Kingsley
songs
of his
a school rather than an individual.
When all the world is young, lad, And all the trees are green, And every goose a swan, lad, And every lass a queen,
—
Then hey for boot and horse, lad, And round the world away Young blood must have its course, !
And "
When
lad,
every dog his day.
all
the world
is
old, lad,
And all the trees are brown, And all the sport is stale, lad. And all the wheels run down, Creep home, and take your place
The spent and maimed among
God
;
grant you find one face there
You loved when
If
there,
all
was young !"
ever major and minor were represented in poetry,
two
stanzas.
a crime.
Yet
To
set
them both
to the
just this matter of the
tation of the verse
by the tone,
is
same music
proper
is
it
is
little
in these
short of
illustration, the interpre-
what song-writers both
in
America
England have failed to study suflficiently. Balfe set " The Sands o' Dee," four contrasted word-pictures, to the same music;
and
AMERICAN SONG-COMPOSERS Hullah
set
"The Three
ence love
Ask me no
"
Fishers" (security, anxiety, and disaster) to
and American composers have given Tenny-
the same melody; son's
More,"
— which
second stanza, sympathy
;
—
musical
pictures
stanza, indiffer-
first
third stanza, the utter yielding of
;
Germany
beyond us in England and America must needs study
one tune thrice
to
255
interpretation.
repeated.
Wagner's theories regarding the wedding
is
of poetry
and music.
Before leaving the Boston colony of composers
speak of a
man
extensive
in
adopted than
at
the
1847.
His
Italian
founded a great choral
society and directed to
7,
America, for he was a choir-boy
Peter's,
St.
country.
native
more Augusto
far
high enough before he
reputation was to
his
in
Rome, January
Rotoli (Fig. 71) was born in
came
whose influence has been
of foreign birth,
his
we must again
was vocal teacher
it,
and was
Margherita,
Princess
maestro of the Cappella Reale del Suda-
For
rio.
this
all
his
twenty years of
American work represent the maturer portion of his life, and certainly show the more far-reaching influence. He has composed a Roman festival mass and a host of songs in the passionate Italian In
school.
faculty of
tory of
Many
1885
the
he was
one
New England
of
the Img. 71.
Music, and he has continued
of his
American pupils
— Augusto
Roioli.
Conservain
that position ever since.
are prominent
on the operatic and
concert stage at present. Jules Jordan, living in Providence
(Rhode
Island),
and leading
the Arion Club there, has considerable reputation as a com]:)oser of
He was
songs. 1850,
born
in
Willimantic (Connecticut), November
and has been the chief vocal conductor
nearly a quarter of a century. Sbriglia,
and Shakespeare.
orchestral
works stand
He
An
is
Providence for
a pupil of George L. Osgood,
opera, a
to his credit,
of
10,
large cantata,
and some
but his songs and his vocal
conductorship form his chief services in the cause of American music.
;
THE HISTORY OF AMERICAN MUSIC
256
A both
list
in
who have
of others
and
instrumental
its
up the song-form
built
vocal
Neidlinger (born
William Harold
Brooklyn,
America,
would include
application,
in
in
July
20,
1863),
Homer Newton Bartlett (born in Dudley Buck Olive, New York, December 28, 1845), whose work embraces many sterling compositions Harvey W. Loomis (born in Brooklyn, February 5, 1865), who won Dvorak's hearty commendation a
pupil
of
;
;
was teaching in New York, and who has written large works, but whose best expression is found in his songs James H. Rogers (born in Fair Haven, Connecticut, in 1857), who studied in Berlin and Paris, and whose songs and short piano
when many
that master
W. Marston
(born in Sand-
wich, Massachusetts, in 1840), whose songs deserve
more attention
much
pieces are of
excellence
than has been paid to them April 29, i860),
who
New
and
York, April
songs
artistic
27, 1869),
who
living except Marston,
much may
are at
work
;
William Victor Harris
All of
men
these
are
still
died in 1901, and as most of them are
yet be expected from them.
West, Robyn being
in the
(born in St. Louis,
whose songs again are better
than his cantata and operatic works.
young,
Robyn
Alfred G.
;
has composed in the large forms, but whose
best works are his poetic
(born in
George
;
in
Of
this
St. Louis,
band two
and Rogers
in Cleveland.
Even
in the far
West one begins
to find earnest
are no longer isolated from the musical world.
example, has at present
its
own
composers who
San Francisco,
for
orchestral concerts, directed by Fritz
Scheel, and musical conservatories of
good rank.
leaders are, however, of foreign birth.
Its chief
Most
of its musical
organist
an Eng-
is
lishman, but his service of nearly a score of years in this country
causes his work to be of greater import to America than to England.
Humphrey John Stewart was born country in 1886.
organist of
to this
as the organist of leading churches.
one year, 1901-02, he was organist he
London, but came
Since that time he has been almost constantly
San Francisco, engaged present
in
of Trinity
Church, Boston.
in
For
At
San Francisco. He was solo the Buffalo Exposition of 1901, and has received the is
at St.
Dominic's
honorary degree of Mus. Doc. former, Dr. Stewart
is
of
chief
in
In spite of his prominence as per-
importance to the
far
West
as a
AMERICAN SONG-COMPOSERS composer.
He
has written three operas, which
Yet
music
(vocal) are, to
California has
his
have been per-
Many organ
formed, and has composed an oratorio.
been given by him.
257
songs, part-songs, and
our thinking, the important factors
many musicians
few worthy composers.
within
its
recitals
his
have
church
in his
work.
borders, but, as yet, very
PLATE X
BENJAMIN JOHNSON LANG
X 3TAJS .1A1
\AnP\A\\D\
I/lMAI,M3a
CHAPTER
XIII
ORGANISTS, CHOIR AND CHORUS LEADERS
may
It
be accepted as an axiom that, while vocaHsts are
fre-
quently not thorough musicians, organists are the most versatile,
Among
the best musically trained of
all.
America, we find many of the
men who have made
the leading organists of the brief musical
John K. Paine was an organ virtuoso, and a good player; Chadwick, Parker, Dudley Buck, and a host
history of the country. is still
names have already been passed
those whose
of
who have won
musicians
composition,
it
won
they have
their
fame upon the organ or by organ
should be remembered
that in almost every case
equal fame by chorus direction, by piano playing,
or by other achievements in the musical
He
field.
Benjamin
better example of this can be cited than
has been a prominent organist of
the organist of the Handel and
generation of
review, are
In this chapter, therefore, while speaking of celebrated
organists.
No
in
;
Boston
Haydn
for years,
Lang.
J,
and was
Society for more than a
but he has also been one of the foremost piano teachers
the country, has been conductor of
clubs of America, and has introduced
some
many
of
the chief musical
of the
musical works of the world into this country.
most important
In short, he
thoroughly interwoven with musical progress of every kind,
United States, that there
is
is
so
in the
scarcely any classification of musicians
name would not
work
in
which
in
Boston began as an organist, and as he has published none of
his
his compositions,
whose
we may speak
favorite instrument
is
Benjamin Johnson Lang
American
man
fitly
of
find
place
;
yet,
as
him among those composers
the organ, (PI.
X)
is
one
of
the most typically
figures that w^e can find in our musical history.
of enterprise
his
beyond any European comprehension 259
He
—a
is
a
man
THE HISTORY OF AMERICAN MUSIC
26o
who is a perfect organizer. He was born December 28, 1837. He studied music at
in
Salem, Massachusetts,
first
with his father,
who
was a good organist and piano teacher. After this the lad took lessons in Boston, to such good purpose that he became a church There was some study abroad organist and choir leader at fifteen. from 1855 to 1858, and Satter, Jaell, and Liszt himself aided in Studies in forming the piano playing of the young musician. composition were not neglected. On his return to America, Lang
became organist
the
of
South Congregational Church, and held His service
that position for twenty years.
Old South and years. He was one first
and
Zerrahn
in
of the
movers
many
in the matter of bringing
Society was only second
in
the
importance to that of
the evolution of that organization.
Still
It
more impor-
and interpreter
tant than this has been his career as conductor
great works.
at
organ to America, and his work with the Handel
really great
Haydn
same capacity
King's Chapel also extended over
at
the
in the
man
not an exaggeration to state that no one
is
of
has done more for the educational advance of America in music
than B.
J.
As
Lang.
a pianist he has
won some
laurels,
although
we cannot rank him with the great
virtuosi of
Nevertheless, his certainty in ensemble
work
is
something to grow
chamber-music or
in
playing an accom-
enthusiastic over,
paniment none
of
and
in
instrument.
the
our native musicians can hope to excel him.
Lang's conducting has been
upon the instrumental
side.
Gericke, Paur, Nikisch, or or excel any of these
men
much
stronger on the vocal than
He cannot play upon an orchestra as Thomas have done, but he can equal in
conducting or
in
training a chorus.
work led him into that path. The Apollo Club, a male chorus, was formed in 1868. From that time, until 90 1, Lang was its director, and he made it for a time the best club of its class in America. In 1874 the Cecilia Club was founded, a mixed chorus, and from its foundation to the present time Lang has been its conductor. Of his year of conductorship of the Handel and Haydn Society, we need say little, for he took the Fortunately, his chief
1
society as
when
it
was
at a
conductor of the
impossible
to overrate
low ebb and torn with dissensions
Apollo and the Cecilia clubs his
labors.
Just as
Liszt in
it
is
;
but
simply
Weimar
did
1
ORGANISTS, CHOIR AND CHORUS LEADERS missionary work
teaching,
in
presenting
in
might otherwise remain unknown, the public,
before
a less promising field (and therefore in
a less
too difficult
for
him
in
art.
undertake
to
and through Boston for No work was too great or
for Boston,
East, in developing
entire
bringing great
works which artists
Lang work
Mr.
degree), did
the
in
so,
great
26
rehearsal with
its
the forces
Damnation de Faust," and his Requiem, Bach's B minor mass, Brahms's Requiem, Wagner's " Parsifal," the list might be greatly extended beyond this, were all introduced to our concert audiences by this great worker. As a composer we cannot speak of this remarkable musician, for although he has written much, he has not printed anything, and very seldom allows any of his work to be heard. The present writer has, long since, had a few^ auditions of some of the smaller compositions of Mr. Lang, and they were fluent, graceful, and muBerlioz's "
under his control.
—
—
But
sicianly.
is
it
evident that this veteran conductor does not
Both he and Mr. Thomas
wish to be considered as a composer. have, in letters, declined the composer's
music
America has gone
in
beyond the creation
far
or an opera, for they have taught the public best music, and have
made
it
their
yet
title,
how
familiar with the
of a
work for symphony
to appreciate the
modern masterpieces.
Mr. Lang's influence as a teacher has been far-reaching. has gathered around him a circle of distinguished pupils
become
a degree
in
Among
disciples.
Arthur Foote, Ethelbert Nevin William ,
Margaret R. Lang, and a host
ter,
that
Yale
University,
in
1903,
degree of M.A. to Mr. Lang. in a sensible
and
while acknowledging lished
some
achieve
all
is
It
which
tempted to
fitting
have given an honorary
a talent of high order,
One may
working
recognize limitations
the great results achieved.
that he has done.
recognize
was very
of his
Had own
he pubcreation
would never have had the time to The time will come when America
in manuscript), he
among the very foremost of those who created among us; and when one views the many directions
him
a musical taste in
His
may mention Apthorp, his own daugh-
and performed symphonies and oratorios
(he has
will
all
should
who have
these one
of others.
manner.
practical
F.
He
this call
as
beneficent
influence
Mr. Lang a musical
"
has
been
exerted,
one
Admirable Crichton."
feels
THE HISTORY OF AMKRICAN MUSIC
262
In a chapter devoted to organists
the advent of the in
first
it
may
not be amiss to speak of
We
great organ in this country.
have ah'eady,
speaking of Pilgrims and Puritans, shown the slowness with which
the organ was accepted in
New
Boston, in 1810, that
held the organ as a godless instrument.
To
same
this
city,
still
however, there came, in 1863, the
concert organ of this country (Fig. F.
&
Walcker
72).
Son, of Ludwigsburg, in
corporation, chiefly through the efforts first
There were churches
England.
in
thorough
first
The organ was built by E. Germany. The Music Hall of Dr. George B. Upham, at
appropriated $10,000 toward the organ which (as they stated
in their prospectus)
When
would stand
in
Boston "for centuries
the instrument finally came, after
the troubles of the Civil
play upon
it,
when
War,
it
some delay because
The
cost about $70,000.
was erected
it
Music
in
of years."
Hall, were B.
first J.
of
to
Lang,
John H. Wilcox, John K. Paine, Eugene Thayer, Dr. S. P. Tuckerman, and G. W. Morgan. This was probably the most famous gathering of organists that had ever assembled in America.
It
occurred
November 2, 1863. The history of the great instrument may be very briefly recited. Some of its stops were beautiful beyond compare its mechanism ;
was
less excellent.
keep well ahead the Boston
spoke rather slowly, and the organist had to
It
of the conductor's beat
Symphony
when accompanying.
concerts began to crowd Music Hall,
found that the organ took up too much room, and
it
was
When it
was
sold, in 1884,
Hon. William Grover, who presented it to the New England Conservatory of Music, hoping that that institution could build a hall for to
it.
Before
it
was taken down
proved the instrument to be •ever,
a white elephant
ibuild a hall as vast as
Archer gave a concert that marvellous one. It became, how-
P""rederick
still
a
the conservatory found
;
lumber!
it
impracticable to
such an instrument would require, and
the great organ that was to stand for years after
it
had been
set up, for the
"
centuries
sum
"
was
sold, thirty-four
of $1500, as old metal
Since that time, however, America has built
organs (Fig. 73) (there them), and Cincinnati,
is
boast of instruments that,
named instrument
no longer the necessity
New if
finally
of
many
and
great
going abroad for cities
now
they do not equal every stop of the
first-
York, Chicago, and other
in tone-quality, greatly surpass
it
in
mechanism.
FIG.
72.
— MUSIC
HALL ORGAN, BOSTON.
ORGANISTS, CHOIR AND CHORUS LEADERS
The
chief
names
in the older
265
generation of concert organists in
America, the men who were pioneers
modern musical movement, are John H. Wilcox, George W. Morgan, and Samuel P. Tuckerman. Dr. Tuckerman was born in Boston, in 18 19, and He became organist of St. Paul's studied here with Carl Zeuner. in the
Church, and afterwards went to England, where he carried on exten-
On
America he gave many recitals and lectures, and wrote much good church music. George W. Morgan was born in England (1822), and had an excellent musical training His influence was exerted in New York before he came to America. after 1853. John Henry Wilcox was a Southerner, having been born in Savannah, Georgia, in 1827. His work was chiefly done in Boston, where he gave many popular concerts. Wilcox was fond of sugar-coating the classical pill, and his programmes would scarcely stand severe criticism, but he was full of good taste in registration, and he generally managed to smuggle in a little of Bach among his more "catchy" pieces. Eugene Thayer, born in Mendon, Massachusetts, in 1838, became another of the early virtuosi upon the organ in this country. He was a good composer of sacred music, and one of his cantatas gained for him the degree of Mus. Doc. from Oxford sive studies.
his return to
University.
To come
to the
men
most practical writers produced in
One
is
George Elbridge Whiting
Holliston, Massachusetts,
when succeeded Dudley Buck at Hartford.
of the
for the instrument that this country has yet
the organ publicly
Church
our best composers
of
music are to be found among the organists.
of sacred
born
some
of the present,
He
(Fig. 74).
September
14, 1842.
thirteen years of age, as organist of
Mr. Whiting was
and
He
played
at sixteen
he
the North Congregational
studied with George
W. Morgan
in
New
York, but soon went to England, where he became one of the most talented pupils of the
renowned
the place of that master.
On
Best, of Liverpool, frequently taking
his return to
America Whiting became
organist at St. Joseph's, in Albany, where the celebrated Albani (then
Emma
la
moved
to
Jeunesse) was the soprano of his choir.
After this he
Boston (where he had been organist for a short time
becoming leader at King's Chapel and concert organist at Music Hall. Another trip abroad followed, this time to Berlin,
before),
THE HISTORY OF AMERICAN MUSIC
266
where Whiting studied harmony with Haupt, and orchestration with Radecke. On his return to America he became teacher of the organ at the
New England
Conservatory, holding that position (with the
exception of three years spent as a teacher at the Cincinnati College He has been for many years the organist and of Music) until 1898.
musical director of the Church of the Immaculate Conception, in
Fkj. 73.
As
Boston,
— Organ
in
Jordan Hali, Boston.
a teacher, he has educated
many
of the leading
young
organists of America.
composer that Mr. Whiting takes rank above the organists thus far mentioned. He is the best organ composer of But
it
America.
is
as a
His organ sonata and
organ, are well fitted to
He
world.
only
is
in
become
has also written
good form and
his
pieces and studies for the
a model in the organ music of the
much
vocal church music which not
singable, but gives all necessary dramatic
ORGANISTS, CHOIR breaking
effect without
tones,
— tones
AND CHORUS LEADERS
He
rules.
267
a master of the Gregorian
is
used and understood by modern writ-
far too little
and he has written four masses, a great Te Deum, and some worthy cantatas, of which " The Tale of the Viking," " Henry of ers
;
March
"
Navarre," and the
of the
Monks
of
Bangor
"
are the best.
His orchestral works include a symphony, an overture, a piano concerto.
He
entitled
"
has also recently completed an Italian opera in one
Mr. Whiting has a charming
Lenore."
gift of
act,
melody and
removed from the ultra-modern noise-makers. Regarded as an organ virtuoso, as a teacher and as a composer (and particularly as an organ composer), George E. Whiting must be accorded a prominent place among the workers in the field of American music. Probably the most talented pupil of Mr. Whiting is Henry M. Dunham, who has himself become a prominent virtuoso and comHenry Morton Dunham (Fig. 65) was poser for the instrument. is
far
born in Brockton, Massachusetts, July
many
musical family,
of his relatives
of rank.
His chief studies were
of Music,
under Mr. Whiting, and
in large
member
on his return to
still
of the faculty of the
many
work
Ruggles Street Church
in
New England
A
this country,
at the
Boston's recent music.
accomplished
not
a
As
little.
Conservatory
in
came
he was appointed
Conservatory and
Mr.
churches
of the leading
a
short trip abroad followed
teacher of the organ in that institution. in
of
being professional musicians
New England
an organist
He comes
1853.
his contrapuntal training
degree from John K. Paine.
his student life and,
a
at the
27,
of
is
Dunham has been New England, his
Boston being very prominent
a composer for the organ he has
His compositions include an Organ
School, two organ sonatas, fantasia and fugue in
D
minor, a festival
march, theme, and variations for piano and organ, and some thirty other works for the latter instrument.
One
can trace out musical descent as one would follow any
other genealogy.
Speaking
after the
Biblical
say that Best begat Whiting, Whiting begat
begat Goodrich of all the
Dunham 75)
;
for
Wallace Goodrich, one
manner, one might
Dunham, and Dunham of the
most promising
younger organists and conductors, studied the organ with and composition with Chadwick. Wallace Goodrich (Fig.
was born
in
Newton, Massachusetts,
May
27,
1871.
At nine
THE HISTORY OF AMERICAN MUSIC
268
years old he began studying piano; at fourteen he was giving organ
and had a public position as organist went to Europe when twenty-three years
He
Newton church.
in a
recitals
of
age (1894) and
lowed that great American procession already spoken
where he became a pupil
Ludwig Abel.
He won
(of
of,
fol-
Munich,
to
course) of Rheinberger, and also of
com-
a silver medal at this school by his position and organ playing. fall
In the
1895 he went to Paris, where
of
he studied with Widor. It
may
Charles M.
be
said
Widor
passing,
in
that
an organist and
is
composer whose greatness has not as
More power-
yet been fully recognized. ful
and
solid than the suave
and
facile
Guilmant, the style of the organist of St.
Sulpice does not win so speedy an
appreciation as that of his competitor
and contemporary, but Widor ing to
last,
immense Fig. 74.
— George
E.
Whiting.
;
play Bach, for the
followed in
young
Germany and
organist.
came back
to this
now
he
of
German
fetters in
Study
added
of operatic
conducting
song and
1897, Goodrich
so that when, in
country and began teaching
Gallic
which the Germans
close acquaintance with plain
ancient church music in Italy;
was
It
in Paris, for to the solidity of
and the Frenchmen broke the
build-
benefit for Goodrich to study
attainments
grace
nevertheless.
is
in the
New England
Conservatory, he was one of the most broadly educated musicians imaginable.
Goodrich has not composed or published much as
hymn, an overture
for orchestra, an "
orchestra, an operetta,
He
script.
and
is
has,
and a requiem
Ave Maria
(in
Latin
and manu-
still
in
however, written valuable essays upon organ playing
He
has done, and
work in conducting different societies, the chief the Choral Art Society, an organization composed almost artists, which gives the rarest of old church works a
is
doing, important
of
which
entirely of
A
for chorus
English) are
exerting a wide influence by his teaching.
is
"
yet.
ORGANISTS, CHOIR
As an organ
capella.
AND CHORUS LEADERS
Mr. Goodrich has appeared
soloist
269 in the
sym-
phony concerts of different cities, and is one of the surest ensemble He is at present the organist of Trinity players that we possess. Church, Boston. The work of this man extends in so many directions (we must not forget to add that he has lectured on church music), that we can confidently predict that if the mantle of Mr. Lang is ever to descend to any one, it will fall upon the shoulders of Mr. Goodrich. Everett E. Truette
is
given some four hundred
organ
for organ playing
These have been many
has been his writings upon that theme.
and
has
throughout the United
recitals
and yet perhaps the best work he has done
States,
He
another of Mr. Dunham's pupils.
interesting.
Probably one of the chief figures in connection with the music of
Samuel Brenton Whitney. This vethigh-class church music w^as born in Woodstock, Vermont, Although he studied at first with local teachers, and 1842.
the Anglican church
eran of
June
4,
is
afterward with Charles Wels, of
New
York, yet his chief musical
education came from John K. Paine, whose substitute in organ work
Soon
he frequently became.
after this period of study
was appointed organist and choir-master
the
at
Mr. Whitney
Church
of
the
Advent, where he soon introduced the beautiful English Cathedral service in
been into
all
its
musical glory.
At
in this post. it,
For
Whitney has
the twenty-fifth anniversary of his entrance
several of his old choir-boys,
in the service,
thirty years Mr.
now grown
to
famous men, sang
and Dr. H. H. A. Beach and the celebrated
tenor,
Charles R. Adams, were in that chorus. Naturally the boy choir
is
an important factor in such a church.
Mr. Whitney stands as the chief conductor
in this field in
His boy choir has been the musical model
of
Phillips
Brooks longed
director as well, but
for
other churches.
such a choir and hoped to have the
Mr. Whitney held
famous clerg}^man was too high-minded his expressed wish) to
many
America.
to
to
his old post,
make any
efforts
draw him away from the Church
and the (beyond of
the
Advent. Mr. Whitney established another valuable English custom
New
England
;
he
brought
about
parish
choir
festivals,
in
and
THE HISTORY OF AMERICAN MUSIC
270 directed
many
and
of them,
New England
at the
Conservatory of
Music he established what was probably the first " Church Music As a performer he is one of the best organists Class " in America. of the country, yet
he seldom displays his
His Bach playing
of his church.
The compositions
A
piano
remarkably dignified, and with-
is
German
out that rigidity with which
of this
many American cities. as famous in London
A
organists too often invest
modest musician are
by him has been heard
trio
abilities in this field outside
in
high quality.
many American
in
processional by Mr.
as
of
it.
concerts in
Whitney has become
America, and has been republished abroad.
been
has
It
rearranged
for piano, for orchestra, is
even an edition,
tion, for the
canon
G
in
God goes come
in raised
A
has become nearly as of
War," has be-
forth to
into
The Son
"
being
even
Portuguese.
The
world-famous,
translated
nota-
use of the blind.
His hymn,
popular.
and there
church services (Anglican) that Mr.
Whitney has composed and
ous,
home of
of
even
in
are numer-
England,
such numbers, the worth
American master
the
the
is
quite
that
New
generally recognized. Fig. 75.
—
J.
It
Wallace Goodrich.
may be claimed
York had such church music Boston, and quite as good
composers
in
New York
nent American in this is
one
man whose
Mr. Whitney
in
the same level. 17,
Church,
for ten in
is
that the chief Episcopal
The most promi-
have been Englishmen. belongs to
field
in
New
England.
New York may
Yet there
parallel
that
of
Boston, although his musicianship was not upon
Mr. George
had a broad education
He was
but the fact
career
was almost
1828,
;
before
W.
Warren, born
entirely self-taught in
in
other directions at
in
Albany, August
music, although
he
Racine University.
years the organist and director of
Holy Trinity
Brooklyn, and for thirty years the organist and director
1
AND CHORUS LEADERS
ORGANISTS, CHOIR
Thomas's Church
at St.
in
New
On
York.
27
his twenty-fifth anni-
commemorative festival was held, as for He has left some effective church music Mr. Whitney in Boston. and a son, Richard Henry Warren, who is musical director at St. versary of service a great
Bartholomew's Church.
But a greater Warren
may
stand with
is
to be
found
in
NewYork
— a man who
the church organists of
relegated to an inferior position.
And
any country and not be this man, although born in
Canada, belongs to the United States, for his father was a Rhode Island organ-builder,
manufacture
who had moved
in that city.
to
Montreal to carry on his
In Montreal, therefore, on February 18,
His childhood 84 1, Samuel Prowse Warren was born (Fig. 76). was spent amid the surroundings of organ manufacture, and he 1
was familiar with the instrument even before he began its study. Wliile a mere lad, he became the organist at the American Church After finishing his general studies at college,
in Montreal.
he started for Berlin to complete his musical education. it
G.
was Haupt
Schumann
for the
New
York, where he has been ever since.
He is one of the given many recitals.
alone he has played hundreds of times in public.
added of
Church have had
at different times as a leader.
organists of America, and has
to our store of
and
Mon-
In 1864 he came back to
All Souls' Church, Trinity Church, and Grace
him
In his case
organ, Wieprecht in instrumentation,
as piano teacher.
but soon went to
treal,
in 1861,
great concert In
New York
Mr. Warren has
church music, yet by no means
in the
degree
Whiting or Whitney. In
Edward Morris Bowman we again
find
an organist whose
work in music is not to be bounded by his instrument. Mr. Bowman's influence has been exerted as a teacher and most prominently as an organizer of associations to protect the American composer. He was born in Barnard, Vermont, July 18, 1848. After considerable desultory training in music he came under the influence of Dr. William Mason (whose work we shall describe in the succeeding chapter), and finally went to Berlin, where Bendel,
Haupt, and Weitzmann were his instructors. Batiste,
studies
and London, helped his musical Mr. Bowman, as the originator and first presi-
and Macfarren still
further.
Afterwards Guilmant,
in
Paris
THE HISTORY OF AMERICAN MUSIC
272
dent of the American College of Musicians, and as a very active president of the Music Teachers' National Association, has done
much
As
for the native composer.
the head of the musical depart-
Vassar College from 1891 to 1895, he worked faithfully in the cause of college education in music, and as a director he has He organized the also done permanent service to American music.
ment
of
famous
Temple Choir
"
and
Brooklyn,
of
ducts
"
con-
and many
that
He
other societies.
has
been organist and director in
many
leading churches.
Two
other
American
eminent
organists
are
descendants
musical
Samuel
of
Warren, and
P.
have claims to be
both
recorded
a
in
historical
account of America's mu-
in
Smith, born
Gerrit
sic.
Hagerstown, Maryland,
December
1859,
11,
in
addition to his important
work
as
church and con-
cert organist, holds a con-
spicuous Fig. 76.
—
composer; SAMtrF.i. P.
of
March 2, 1865, the American Guild of Jersey,
organist,
He
is
whose
also a
recitals
church
societies in that city. ren,
in
is
to be
born
ranked as one
Organists, and
William in
a C.
ors^anist in
Bloomfield,
of the founders
a very active concert
have extended throughout
New York and
this
country.
a conductor of vocal
In addition to their organ study with
Smith studied with Haupt,
Paris.
as
Warrf.n.
Carl,
New
position
in
Berlin,
War-
and Carl with Guilmant,
In connection with organ playing
it
may
be mentioned
Haupt and Guilmant have had as direct an influence upon American organ work as Rheinberger upon American composition.
that
ORGANISTS, CHOIR
AND CHORUS LEADERS
273
Haupt has taught more than one hundred and fifty American organists, among them being Thayer, Whiting, Warren, Bowman, Morgan, Eddy, Paine, and Arthur Bird. Before leaving the
New York
Arthur Russell (another Warren music and musical
literature
;
colony we must mention Louis
pupil),
who
has written
much good
Charles H. Morse, who, although more
constantly engaged in college work, and no longer resident in
York, has done prominent work
an
indefatigable
worker
in
in
New
Plymouth Church, and has been
organizing
societies
for
the
benefit
American musicians John Hyatt Brewer, who has been very active along the same lines, conducting societies, organizing associations, and composing worthy music and, finally, Raymond Huntington Woodman, who has the exceptional honor of having been a pupil of Cesar Franck, the French Schumann. Woodman, who was born in Brooklyn, January 18, 1861, has added many compositions to the American stock, and has been a teacher of the organ in New York for many years past. Charles H. Morse's influence, apart from his service in Plymouth of
;
;
Church, has been extended over
was born
in
cal studies
many
Bradford, Massachusetts, January
were pursued
in
He
parts of the country. 5,
1853,
and
his musi-
America, chiefly under John K. Paine,
George E. Whiting, and Carl Baermann. For a time he was a teacher at the New England Conservatory, then director of the musical department of Wellesley College, and then director and founder of the Northwestern Conservatory at MinneJ.
C. D. Parker,
apolis.
After that came his work at Plymouth Church, and
organizing of musical associations in
England.
In
1901
New York
state
and
much
New
he was made musical director of Dartmouth
College.
The West
has also begun to advance rapidly in organ music.
San Francisco we find Dr. H. J. Stewart (already spoken of as a composer), and in Chicago a larger number of prominent organists headed by Harrison M. Wild, a good concert organist and a sterling conductor. Every large city of the West now boasts its coterie In
of
educated organists.
Probably, however, no city of
its
size,
in
America, has been so well provided with organ music of a high class as Pittsburg.
Thanks
to Mr.
Andrew
Carnegie, a large hall
THE HISTORY OF AMERICAN MUSIC
2 74
and an excellent organ have been provided, and regular organ
Sunday afternoon. One can scarcely imagine a better employment of part of the Sabbath than listening to the excellent programmes that have been given concerts are given to the public every
in
Frederick Archer
Pittsburg.
organ virtuoso, was the organizer until the year of his
838-1901), the eminent English
(i
of these educational concerts,
and
death he gave programme after programme of
which
excellent music to audiences
filled
every part of the great
hall.
Never, in America, has there been such an impetus given to public
organ music
taste in
have been one
music
in the
On
of the
the Pittsburg concerts (which
;
most important factors
continue)
in the history of
organ
United States.
the occasion of great public festivals in America, the organ
has almost always played a prominent in
still
part.
At
the World's Fair
Chicago, in 1893, for example, there were sixty-two organ recitals
given by the following
artists
:
—
Clarence Eddy, twenty-one recitals;
Woodman,
Guilmant, of Paris, four;
Samuel A. Baldwin (Dudley Buck's successor at Holy Trinity, New York), William C. Carl, Walter E. Hall, William Middleschulte, Frank Taft, George E. Whiting, and Harrison M. Wild, three each J. Fred. Wolle, whose direction of Bach music in Bethlehem, Pennsylvania, has already been chronicled, gave two recitals G. Andrews, Louis A. Coerne, N. J. Corey, C. A. Howland, B. J. Lang, Otto Pfefferkorn, W. Radcliffe, W. S. Sterling, Henry G. Thunder, a talented Irishman, pupil of ThalR. Huntington
four
;
;
;
berg,
who
died in
New York
in
1891,
and A.
S. Vogt,
one
recital
each.
During 1897 ^^^^l 1898 the Twentieth Century Club of Boston, impelled by the lack of public appreciation of organ recitals characteristic of that city,
in Boston.
The
Edgar A. five;
G.
W.
gave a series
of free concerts in various
following were the performers
Barrell,
two
;
P.
B.
:
—
Brown, two
;
G.
churches
A.
Burdett,
Chadwick, two; E. Cutter, two; Ernest Douglas, one;
Henry M. Dunham, two; Arthur Foote, one Wallace Goodrich, four; Philip H'ale, one; Warren A. Locke (the organist of Appleton Chapel, Harvard), two Hamilton C. Mac Dougall, three Charles ;
;
H. Morse, one; Homer A.
;
Norris, one;
John O'Shea, one; Horatio
ORGANISTS, CHOIR
W.
Parker, two;
(assistant professor of
William Stanfield, one
Allen
;
music
W. Swan, two
Benjamin L. Whelpley, three
;
275
Charles P. Scott, two; Charles A. Safford, one;
Walter R. Spalding five
AND CHORUS LEADERS
;
and
S.
at Harvard), three;
Everett E. Truette,
;
Brenton Whitney, two.
The effort was a praiseworthy one, although it much as the array of organ virtuosi deserved.
did not accomplish as
Regarded from the standpoint of virtuosity, there is one American organist, Mr. Eddy, who has won a remarkable reputation both in
America and
latter
of
country being the land
great
brilliancy
Clarence
playing. 77)
France, the
was born June
organ
in
Eddy
(Fig.
23, 185
Greenfield, Massachusetts,
began
1,
in
and
his musical education at
In 1867 he
the age of eleven.
studied under Dudley Buck, at
from 1868 ist
to
1
87 1 was organ-
Bethany Church, Mont-
of
Then
Vermont,
pelier,
went
and
Connecticut,
Hartford,
Berlin,
to
he
and studied
August Haupt and Albert Loeschhorn. This under
was followed by a concert tour
Germany, Austria, Switzerland, and Holland, dur-
through
ing which
he played
Vienna Exposition
became organist and
after
of
at
First
two years went
— Clarence
Eddy.
the
1873.
of the
Fig. 77.
America Congregational Church Returning
to
to the First Presbyterian
in
1874, he
in
Chicago,
Church, where
he was organist and choir-master for seventeen years.
In 1876 he
became general director of the Hershey School of Musical Art in Chicago, and gave there his famous series of one hundred organ recitals
without a repetition of any composition.
Besides the Vienna
Centennial
Exposition,
Exposition,
Mr.
Eddy
Philadelphia,
in
1876;
has played at the the
International
THE HISTORY OF AMERICAN MUSIC
276 Exposition,
Paris,
(twenty-one
recitals)
1
the
1889;
in
the
;
Pan-American
901, and has given recitals in
cities.
he
During the season
made
a tour of the
one hundred
World's Fair, Chicago, in
of
all
the chief
Exposition,
1893
Buffalo,
in
American and European
1900-01, from October 16 to
May
i,
United States and Canada, and played over
recitals.
Mr. Eddy has lived chiefly
won many European
in Paris
during recent years, and has
American organ works, which he has often brought to foreign notice. Regarding his own performance, Haupt, in Germany, Guilmant, in France, and Sgambati, in Italy, have ranked him with the greatest virtuosi on the instrument. As a composer Mr. Eddy is not regarded as the equal of Whiting or Whitney among our organists, yet he has published a worthy series
been more it is
tributes for
of fugues, canons,
of a specialist
gratifying to find an
in his speciality.
and other organ works.
He
has
than the two composers just named, and
American
in
music so eminently successful
FIG.
78.
— DR.
WILLIAM MASON.
CHAPTER XIV THE AMERICAN COMPOSERS FOR PIANOFORTE
Among chief work,
instrument, as is
who have made piano composition their we find many who are also celebrated as teachers of the and who have influenced the course of music in America the composers
much by
probably no country
There
by their musical productions.
their pupils as in the
world where piano playing
so wide-
is
Almost every home, even among instrument and some amount of piano
spread as in the United States. the humble, possesses
Although
music.
might
desire, the
its
this latter is not
universal
always of the quality that one habit of
gift or
playing at piano music, in America,
undeniable.
is
Even the mechanical attachments automata, have contributed to
making more and
to-day
the
to
musical
piano, the
further piano music, and most of
Add
these appliances are of American origin. is
playing the piano, or
America
to this that
better pianos than any other country,
and we can readily see that piano composition must be, for good The or for evil, one of the most important factors of our music.
amount is
of
piano teaching that
carried on in the United States
is
something stupendous, and the leaders
important task
in
forming a national taste
in this field
have a most
music, and in checking
in
grown up only too rapidly. New York ought to be given
certain pernicious influences that have
Dr. William
precedence
in
Mason
(Fig.
yS) of
treating of this topic, for he
24, 1829, the third
figure in
recorded.
March
7,
born
in
among Boston,
son of Dr. Lowell Mason, that important
American musical
history,
whose work we have already
Naturally his father was his
his first public
the pioneer
He was
our native piano composers and teachers.
January
is
appearance as a pianist
1846, he played at an
first
in
teacher.
Boston.
Mason made
As long ago
as
orchestral concert of the Boston
279
THE HISTORY OF AMERICAN MUSIC
28o
Academy city,
like
when Beethoven was
of Music, in clays
a novelty in that
and Music, heavenly maid, was decidedly young. Mason's life, that of Moscheles, is a chain leading from the old to the new.
In his youth he saw the beginnings of secular music in a country
which had been steeped
America give
lived to see
Europe.
He
orchestral
and his own work has formed an important part
;
which he has watched
in the fabric
concerts equal to those of
has seen a race of native composers in the classical
forms grow up In 1849
psalmody and sacred concerts; he has
in
Mason went
Leipsic, thanks
to
in
the weaving.
Europe to complete his musical studies. Mendelssohn (who had passed away but two to
years before), was then a musical centre, and this pilgrim from the
new world was taken as a pupil by such men Hauptmann, and Richter. Then there came study Dreyschock, and
the
finally
years
five
rounded out with nearly two years
of
as
Moscheles,
at
Prague with
apprenticeship
were
of Liszt.
American student abroa'd, in the middle of the nineteenth century, from what it is to-day. There was no great band of cisatlantic enthusiasts to be found in the It
was very
conservatories
Richardson
different with the
at
(who
method and
sold
that
time
;
J.
C.
subsequently wrote
D. a
Parker,
over a million copies of
it),
and
American Jasons. And with Liszt, also, in 1853, from what it became in There was no cosmopolitan crowd of worshippers its
superficial
poorly arranged
three of the earliest of the
shrine, but in
the
it
piano
Mason were was different
his later years. at
the
Weimar
place a small, highly appreciative artistic coterie.
The young Mason became
the
companion and
friend, as well
as
the pupil, of the great pianist.
During the European sojourn Mason played in public, twice in London, and several times in Weimar, even at the court of the Grand Duke. This was probably the first time that American musical talent had attracted attention in Germany. In 1854 his
American career began. It was to be a long and an extremely important one. New York at once had a classical impetus given it by a series of excellent chamber concerts, which were instituted by Mason, with the assistance
composed of TheoMosenthal, and George Matzka
of a string quartette
dore Thomas, Carl Bergmann,
J.
1
THE AMERICAN COMPOSERS FOR PIANOFORTE
28
For about thirteen years these classical chamber concerts were continued, and America first became acquainted with Brahms and many of Schumann's noble inspirations through this (Fig. 27).
medium. states
There was
also a long concert tour through the different
made by Mason, but he
and distracting work.
did not care
for this
arduous
In 1872 Yale University conferred the de-
gree of Mus. Doc. upon Mason,
How
much
—
a well-deserved tribute.
American musician for his chosen art has been, may be best understood by that Httle band of auditors who have been privileged to hear him give daily recitals sincere and intense the love of this
during his summer vacations
at the Isles of Shoals, at the
Celia Thaxter, the eminent poetess.
manner speak
home
of
His geniality and unstrained
These are almost wholly pianoforte works, although a few part-songs and an early serenade for violoncello also exist. There are about fifty works for his favorite instrument, and (with Mr. W. S. B. Mathews) Dr. Mason arranged a piano method that has become famous. In this latter he advocates an especial touch, a drawing of the finger (further used in his later instruction books and essays) in certain passages, which has "become
in his
known
Many
of
Germany,
compositions.
"
as the
Dr. Mason's
"
touch."
compositions have been republished
Danse Rustique
"
when Dr. Mason was over seventy-one), are among his best w^orks. None of his
compositions attempts the large classical forms. or concerto to his credit tive
in
His "Silver Spring," "Reverie Poetique," "Improvisa-
tion" (Op. 51, composed
and
Mason
;
There
is
no sonata
but in the domain of pleasing and instruc-
drawing-room music he has had great success.
Many
technical
points are introduced in his piano pieces in such a deft manner that the
pill of
study
is
sugar-coated.
It
is,
however, rather as teacher,
Schumann and Brahms music in America, as eduHe has had public, that Dr. Mason is to be honored.
as introducer of
cator of the
some famous
pupils, including
William H. Sherwood, E. M. Bow-
man, and others.
Another American composer, born in the same year with Dr. Mason, seems far more remote from the present epoch, and his foreign descent, his constant European tours, and his French predilections, all
combine
to
make
us think of
him
as cosmopolitan rather
THE HISTORY OF AMERICAN MUSIC
282
than distinctly American. born in his
New
Orleans,
mother a Creole.
Louis Moreau Gottschalk (Fig. 79) was 8, 1829, his father being an Englishman,
May He was
he showed his musical taste
organ on one occasion,
emphatically an infant prodigy, for
in church, at six
in
the
was sent to became a great
thirteen he
He
complete his musical education.
to
favorite
Piano, organ, and violin
!
At
constituted his early musical studies. Paris
age of four, and played the
at the early
French metropolis, being idolized by impressible
female auditors after the fashion that Liszt had been and Paderewski was to be.
him play
Chopin heard
at a concert at the Salle
Erard, in 1845, and predicted that
he would
become
pianists.
He
king
of
gave a series
of
the
concerts with Hector Berlioz, and that celebrated
him
that he
that he
composer said
had sovereign power,
was a consummate
Tours were
of
made
all
pianist.
over the
world and honors were won everywhere.
In
Spain
a
celebrated
him with his sword and the Infanta made a cake for him with her own royal hands in almost every European country he received orders and bull-fighter
presented
;
decorations from royalty. P'iG.
79.
— Loris
Occasionally Gottschalk would
M. Gottschalk.
stoop to meretricious effects, and
more than once he arranged
work for a whole battalion of pianos together. Yet, over and beyond this, he was a poet of his instrument. His own compositions show this. One can find few works more expressive than the couple of sketches entitled " Ossian," which were among
his early works.
and passion, and
Among
his
a couple of
a
His
tropical
dances are
his reveries are filled with the
full of
fervor
languor of the South.
works are two operas, which never were performed, symphonies, marches for the orchestra, and a dozen
THE AMERICAN COMPOSERS FOR PIAiNOFORTE
283
songs, but his influence as a composer rests with his piano composi-
None
tions.
of these
win his triumphs
was
in salon composition,
drawing-room morceau
is
forms
in the largest
he was satisfied to
;
which was
well, since a poetic
worth a dozen uninspired sonata forms.
American to achieve European fame by performance or composition, for he was playing publicly in Paris while Mason was yet occupied with Boston concerts. But Gottschalk was far less distinctively American than Mason, and his work by no means exerted such direct influence upon American musical Gottschalk was the
He
development. States,
—
New
in
country in
it
gave, to be sure,
said as
is
York,
first
many
— appearing
many
concerts in the United
as eighty concerts in a single season
more than
a thousand times
this
but he came as an exotic and was a foreigner in the land
;
He
which he was born.
was French by
maternal descent, and his compositions are
taste,
in
New
born, by chance, in
other climes. the world
It
artist,
was a
He
was a great
Orleans, but in art belonging to
Bohemian
wild,
language, and
no sense American,
but lean heavily to the Spanish or French school. artist,
in
the typical career of
life,
that Gottschalk led, yet with
all its
excitement, the
constant tours, and the green-room atmosphere, the earnest side of the composer's nature would often assert is
temporary and some that
is
unworthy,
positions are characteristic and powerful
much
itself;
and, amid
many
of Gottschalk's
enough
to
that
com-
hold their
own
in the standard repertory of to-day.
The long.
excited and irregular
He was
an exhausted
a musical festival at year, as he latest
composition,
"
man
Rio Janeiro,
was seated
"),
he
Gottschalk could not
On November
Brazil. (it is
fell
last
very
In 1869, he was giving
at forty.
piano
at the
Morte
of
life
said that he
was playing
He had
senseless.
26, of that
his
been stricken
with yellow fever during the year, and was in an enfeebled condition
He was
that precluded recovery.
about three miles away,
in the
might recover; but he died
taken to the suburb of Tijuca,
hope that
there,
in
December
its
higher altitude he
18, 1869.
It
fying to state (yet strictly true) that Gottschalk was far
is
morti-
more ap-
preciated abroad than in his native land, America.
Leaving these two dissimilar exponents ica,
we come
to the native
of
piano music in Amer-
composers who are
at present
adding
to
THE HISTORY OF AMERICAN MUSIC
284
As we have
American music.
the library of
seen the orchestral and
composing for the piano, so we shall find our piano composers (those who have won their chief triumphs in this field) sometimes winning successes in song or operatic com-
operatic composers occasionally
One of the most versatile of composers who have won success in various styles
those American
position as well.
is
of musical
Wilson George Smith, who, with Mr. Beck and Mr. Rogers, aids importance to Cleveland, Ohio.
in giving musical
Mr. Smith was born in Elyria, Ohio, August
was
a pupil of
work
in his
to
work
Otto Singer, at Cincinnati, and was so promising
that the veteran teacher urged
complete his musical education.
work
In
others.
him
go
to
Germany
to
Therefore, in 1880, he set to
under Kiel, Scharwenka, Moszkowski, Raff, and
Berlin,
in
He
1855.
19,
1882 he came back to Cleveland, and has remained
there ever since as a teacher of piano, voice,
and composition, and
a concert pianist.
He
has composed a large
number
among which
of works,
about half a hundred songs, but his chief reputation piano works. of
Some
of these, entitled "
European masters.
line
of
toward
works
A
"
Homage
Homages," arc
Schumann
the novelettes of that composer;
whom Smith in
seems specially
a
He
"
upon
his
in the style
runs along the
"Homage
to
Grieg,"
attracted, consists of five piano
the Norwegian vein, and these brought
from the Northern master.
tion
to
rests
are
warm commenda-
has written other piano works
Norwegian and Swedish style, for which he has an evident penchant. In two other piano homages Smith has laid wreaths upon the altar of Schubert and Chopin. His more individual com-
in the
positions are not vast but always fluent,
He
is
upon
not an iconoclast by any
means (although not
occasion), but a very agreeable
highway.
His transcriptions
pianos, are very broad
commendable.
and
of
traveller
graceful.
afraid of fifths
along the musical
works by Grieg and
effective.
Every teacher
and
attractive,
Raff, for
two
His pedagogic works are
finds Smith's octave studies
studies for especial finger development useful
and
and the
practical.
chromatic studies and his set of studies in transposition have
His
won
approval from Grieg, Godowsky, Xaver Scharwenka, Mason, and other authorities.
THE AMERICAN COMPOSERS FOR PIANOFORTE
285
Less prominent as a composer, but exerting a great influence as a teacher and performer,
sphere of action, at
New
was
his
York, January teacher
first
Mason was another
birth,
by descent, and by
He was
his
His
father, a
born in
good musician,
William
Dr.
;
of
31, 1854.
whose
Chicago, has been
labors for the native composer.
his aggressive
Lyons,
American by
is
80),
in
Boston, then
in
first
He
remarkably wide.
William Hall Sherwood (Fig.
is
instructors,
and took great interest in him. A very thorough European training followed,
Sherwood studied with Weitzmann, Deppe, Richter,
during which
KuUak,
Dappler, Scotson Clark, and Liszt.
He
gave a series
Germany, and then,
in
certs
of successful con-
in
1876,
returned to his native land, where he at
once started upon a large and
brilliant
After this he settled in
concert tour.
Boston, and began teaching.
Sherwood
soon went to Chicago, where he started Since
a conservatory.
work has been Liebling and
in the
W.
— William
H. Sherwood.
West, where his teaching (with that
B.
S.
Fig. 80.
1889 his chief of
Emil
Mathews) has made Chicago a centre
for
Yet his work in Boston also left its mark, as witness such pupils as Arthur Wliiting, Clayton Johns, and many others. piano music.
His published works a scherzo, and
Caprice
"
certainly
But spurs. east,
(Op. is
his
it is
for the piano) contain a couple of suites,
some other compositions. 9),
Perhaps the
although one of his early works,
most
difficult
as a performer
is
"
Scherzo
his best, as
it
composition.
and teacher that Sherwood has won
his
His concert tours have extended everywhere, north, south-
and west.
United States.
had
(all
Canada and Mexico have heard him, as well as the Every great symphonic orchestra in the country has
his services in concerts at
one time or another.
All together,
much to say that the first American piano virtuoso is (and has been for many years) William H. Sherwood. More prolific than the composers we have mentioned is a Boston it
is
not too
THE HISTORY OF AMERICAN MUSIC
286
and teacher, Charles Dennee, who was born in Oswego, New He studied music chiefly in Boston, York, September i, 1863. taking his harmony lessons of Stephen A. Emery, and his piano of
pianist
Alfred D. Turner.
made Dennee
It
was Turner's guidance and friendship that
He
a musician.
has written some successful light
operas of the vaudeville type, a large greater is
number
of
piano works
3,
composed some
A
He
and a
still
piano method
has toured the United States
Frank Addison Porter (born at Dixmont, 1859) is a pupil of the same teachers, and has
as a concert pianist.
also
of songs,
in the small forms.
also to be placed to his credit.
Maine, September
number
useful pedagogical works, as well as songs
and
piano morceaux.
To
such a
list
piano composers Albert Ross Parsons also
of
somewhat more ambitious school. Parsons was born at Sandusky, Ohio, September 16, 1847. He studied at first with F. L. Ritter, the famous litterateur and conductor, and afterwards with Reinecke, Papperitz, and Richter, in Leipsic, with Parsons's translations Taussig, Kullak, and Weitzmann, in Berlin. belongs, although of a
of important foreign musical works, his careful editing of classical
and
reprints,
his
own compositions
entitle
him
very honorable
to
mention.
New York
has an American piano composer,
other flights, in John Nelson Pattison. a
symphony
his piano
for the orchestra
works
in print,
and he has added much
13,
has attempted
has written a
and military band.
able class of drawing-room music.
Cross (born there April
He
who
"
Niagara,"
There are many to the
of
more agree-
In Philadelphia, Michael Hurley
1833, died there
September
and Charles H. Jarvis (born there December
20,
1837,
26,
1897)
and died
there February 25, 1895) were standard-bearers in the best school of
piano work.
Of the youngest workers predict the ranks. pieces,
works.
full result
studies,
Redman
is
it
might be dangerous
Boston has two
as yet.
Harry N. Redman
and
in the field
is
to
of these in its musical
writing not only
many
songs, piano
but also violin sonatas and larger concerted distinctly
modern
in his vein,
and has studied
deeply in the works of the neo-Russians Tschaikowsky, Balakireff,
and others.
Alvah Glover Salmon has drunk
at the
same
fountain,
THE AMERICAN COMPOSERS FOR PIANOFORTE
287
and has even gone to St, Petersburg and Moscow for musical study. He has composed much briUiant and difficult piano music and has appeared
in public,
both as a pianist and lecturer.
His chief teacher
America was John D. Buckingham, of Boston. In speaking of piano composition we must again turn to foreign influences that have had their effect upon American musical eduIn no direction have these influences been more marked cation. than in the development of our piano playing and its repertoire. Attracted to a country where the piano fever was assuming the proportions of an epidemic, some of the best artists and teachers from abroad settled here, and became virtually leaders in the onward movement of that kind of music. The mere accident of birth must be ignored in such a case. Such men as Joseffy, Baermann, Hoffmann, Mills, who have spent the riper years of their lives among us, and have trained many of the best of the present in
generation of our pianists, are certainly not to be ignored in any
work
The
that speaks of the development of music in America.
native
band
advanced pianists and piano composers, was, as we
of
The European
have seen, a very small one, twenty years ago. came, and
it
stayed in the
Baermann, who was born
loaf.
in
Such
leaven
a man, for example, as Carl
Munich, has had
far
more
do with
to
American music than Gottschalk, wlio was born in New Orleans. Carl Baermann (Fig. 81) belongs to one of those families where music seems to run in the blood and is transmitted from generation His grandfather, Heinrich Joseph Baermann, was to generation. one of the most brilliant clarinettists of the world, and was a close friend of Weber and Mendelssohn, both of whom wrote compositions for him.
were the earliest
how much
may be
It
in the true
recalled that both of these masters
usage
of the clarinet,
and who can say
they were influenced in their scores by personal contact
with the famous clarinettist,
Baermann
!
A
granduncle was a
brated bassoon player, and the father, Carl Baermann, celebrated for his clarinet work. Sr.,
wrote
esteem
many works
method which
is still
From such
Both were held
Bavaria, and the father has
one of the most famous
ancestry came
was
also
Both Heinrich and Carl Baermann,
for their instrument.
at the court of
Sr.,
cele-
Carl
left
in
high
a clarinet
in existence.
Baermann, the
pianist.
In
;
THE HISTORY OF AMERICAN MUSIC
288
Munich, among other teachers, he had as instructor the thorough and conservative Franz Lachner, Subsequently he was one of the pupils of Liszt, not merely in name, but in
most laudatory favorites.
well
letters
Soon
known
he possesses the
fact, for
from that master, and was
and was appointed piano Munich, that academy where so
for his concert performances,
many American composers have came under the influence
studied
;
and here many Americans
Soon
of the excellent musician.
King Ludwig the
1
ceived
two
he might
visit
years
piano music
the
in
the large
der
all
but
his
in
have become famous Professor
in
their
the
A
and
in classical
the
own
His
all.
every state of
them
right.
a large
list
but his few works are of a high order.
may
of
and many
republic,
has
teacher
as
almost
un-
conductors
celebrated
represent
A
of
piano compo-
series of twelve
be spoken of as belonging to lliey do not pale, as so
the finest piano literature of the present,
many
for almost
symphony concerts
influence
Baermann has not written
studies (Andre, at Offenbach)
resi-
has given recitals and appeared
pupils
Baermann.
in
United States.
been the most important
— Cari,
re-
America.
teacher
this
been a leader
pianist has
at
and
in this country,
twenty-five
He
him
years,
permanent
visit resulted in a
dence
to
Baermann
of
furlough
order that
The
gave
of Bavaria
88 1, Professor
a
after this.
Royal Professor.
title of
In
sitions,
of his
were completed Baermann became
after his studies
teacher at the Royal Music School of
Fig. 8i.
one
literally
similar compositions do, even before the studies of Chopin.
piano
suite, also of the
just completed.
We
highest order,
know
of but
is
yet in manuscript, being
one orchestral work by Professor
Baermann, and that has not yet been heard
in
America.
a festival march, which was performed recently in
This
Munich on
is
the
occasion of the celebration of the centennial of the Bavarian State
THE AMERICAN COMPOSERS FOR PIANOFORTE The work won
Museum.
289
the highest praise, even the Prince Regent
growing enthusiastic over it. The march is in a more developed form than the ordinary " Song-form with Trio," and leans somewhat toward a sonata shape with varied recapitulation.
It
is
typical of
Professor Baermann, this clinging to the classical style, for he
musical conservative and
has been a barrier against
extravagances of the ultra-modern school in America,
—
is
a
the foolish his
extreme
boundaries being from Bach to Liszt. In speaking of foreign teachers of piano in Boston a prominent
place should be given to Ernst Perabo, who, although born abroad (in
Wiesbaden,
He
old.
came
in 1845),
returned
to this country
Leipsic
to
for
man
Since that time his
of twenty.
spent
Boston
in
Beach (who
studied with Carl
also
direct result of his teaching.
and
brief,
in
Boston
young
in 1865, a
has been almost wholly
life
As one
teaching.
in
musical education, which
his
was especially thorough, but was again
when but seven years
of
his
pupils
was Mrs.
Baermann), one can see the
Mr. Perabo's compositions are few
although he has made some remarkable transcriptions
He
of great difficulty.
could be wished
not as frequently heard in public as
is
for.
America has won to herself a remarkBorn in Miskolcz, in Hungary, July 3,
In Rafael Joseffy (Fig. 82) able genius of the piano.
1853, his childish efforts at the piano were so noteworthy, that he
was early sent
A
Tausig.
as a pupil to Moscheles,
marked success attended
osity.
in 1879,
It is
and
this in later years.
He came
once made a sensation by his great
honor that he rose
He
and a
his debut in Vienna, "
at
to Joseffy 's
to the greater
around the world followed.
series of concert tours
America
and from him
lost
to
to
virtu-
something higher than
nothing of his brilliancy but gained
decidedly in musicianship in his riper manhood.
For over
five years
he disappeared from the concert platform, studying most zealously during that time; then a new Joseffy came back, powerful musician
He
success.
who
strove for the best in
art,
has given his best work to America.
the National Conservatory of
piano playing with
us.
As
New
— an earnest and
not for immediate
As
a teacher (in
York), Joseffy has done
much
a composer, one cannot accord
him
for
as
high a rank as his concert reputation would imply; his works are u
thp: history
290
of American music
almost entirely drawing-room music, graceful and pleasant, but not important.
Much more prominent Americanized
was born
in
of
as a composer,
our foreign contingent,
Manchester, England,
May
and the most thoroughly-
is
as a
mere
lad of sixteen,
—
at a
time
and was taught by
24, 1831,
Rubinstein, Thalberg, Moscheles, and Liszt.
He
Richard Hoffman.
He came
when such
to
America
pianists as he were
most
rare,
— and, as he
became a resident
of
New
York, his
influ-
ence
was
great
with
the
very
few musical
societies existent there in
He made
1847.
musical tours through
America, Burke,
with
first
the
violinist,
then with Jenny Lind.
He
often played duets
(on
two pianos) with
Gottschalk, great
who had
predilection
a
for
concerted music of this character,
when
orchestra was tainable.
duets Fjc. 82.
— Rafaei,
Joskfkv.
fifty
years,
good
not ob-
played
with
Von
when that piancame to America.
Billow, ist
For more than
also
He
a
Richard Hoffman has been a notable
American music, as concert performer, as teacher, and as composer. Nor does his work fall wholly in the earlier times of New York's musical activity. Even in the last days of Seidl, this pianist appeared in a concerto directed by the great conductor. As a composer Mr. Hoffman has a list of compositions which extends to more than 125 works. Songs and some excellent Episcopal church numbers are among these, but his most successful figure in
1
THE AMERICAN COMPOSERS FOR PIANOFORTE Most
pieces are for the piano. of
of
29
these are of the higher order
drawing-room music, and such works as
"
Le Crepuscule," "Im-
promptu " (Op. 6), and " Venice " were much better than the average American piano composition at the time they were pubhshed. In short, in Richard Hoffman we have a modest musical worker whose quiet life has witnessed the growth of our art in New York from Jenny Lind concerts to " Parsifal " performances, and if he has not done the work of a William Mason, he has at least followed bravely that excellent lead.
Scarcely less of an American record in length of time, and more brilliant
the matter of public work,
in
Englishman who
another
Mills,
musical history
nearly
if
can constitute a claim.
March
belongs to
certainly
Bach
American
forty years of active service in the cause
Mills
was born
in Cirencester,
England,
His name may indicate that his father was a musi-
1838.
i,
that of Sebastian
is
Cipriani Potter and Sterndale Bennett were his early teachers,
cian.
and he played before Queen Victoria when he was seven years
old.
After that came a Leipsic Conservatory education and public per-
formances even in Germany, Finally, a settled
made
debut in
in
York,
in
America.
By
so successful that Mills
few tours
of
Germany were
New York
He
appeared
his
teaching, his composing, and his concert playing.
in
the cause of
died in Wiesbaden, Germany, tions, so far as
them
A
concerts.
but most of Mills's concert appearances were in
Mills greatly assisted
of
was
1859,
that city permanently.
in later years,
1877.
New
Gewandhaus
at the celebrated
in
every season from 1859 to
good music
December
we know them, were
all
21,
in
all
He
His composi-
1898.
for the piano,
large or classical forms, but
that city.
and were none
graceful and attractive
works.
Mr. Perry
is
an American
— a concert pianist who one end to the other.
artist
who
stands in a class by himself
totally blind, yet tours the
country from
Edward Baxter Perry was born
in Haverhill,
Massachusetts, February
is
14,
1855.
Some
He
was not born
blind, but lost
was given at the Perkins Institution for the Blind, at South Boston. A European education in piano playing began with Kullak in Berlin and was continued under Pruckner in Stuttgart. Then came assistance and his
sight in
childhood.
of
his
training
THE HISTORY OF AMERICAN MUSIC
292
from Liszt and from Clara Schumann. During his stay Germany he gave a recital before the Emperor. On his return
in
number
of
tuition
America, he began teaching
engagements
for recitals
pedagogics.
He
Boston, but the large
in
to
and lectures forced him away from musical
has given more recitals than any other American,
American mu-
and, as already stated, enjoys a unique position in sical art.
Hundreds
of other
musicians who, by teaching or composition, or
public performances, have added something to
might be passed
in review,
American piano music,
but to do so would turn musical history
Yet some of these have also done yeoman service. Hanchett has lectured and taught in New York and elsewhere through the country; Boekelman has done good work at Miss into a musical directory.
Porter's
famous school
scheme of analysis mously valuable to
of all
at
Farmington, and has invented a color
Bach's fugues and inventions that
musicians;
enor-
is
Constantin von Sternberg, the
celebrated Russian, has helped musical education both in Atlanta,
Georgia, and in Philadelphia; sted have
and East.
done
in
the
W.
C.
Seeboeck and August Hylle-
West what Sternberg
Frederick Brandeis gave the larger part of his
composition, organ playing, and teaching in forth large
has achieved South
and
classical
of these pianists,
works
in
New
many branches
and many others, have helped
most piano-playing nation
of the world.
life
to
York, bringing of
to
music.
make
All
us the
PLATE MRS.
H.
H. A.
XI
BEACH
IX 3TAJ'=^ HnA:=ia
A .H .H .8HM
:
CHAPTER XV AMERICAN WOMEN
Can
a
woman become
MUSIC
IN
a great composer
female Beethoven or a Mozart
decided the question quickly and
Will there ever be a
Europe most
authorities have
in the negative.
Carl Reinecke,
In
?
?
long the director of the Leipsic Conservatory, once gave his views
on
He
this subject to the present writer.
point where
woman
stopped in music.
believed that there was a
His experience was,
that,
up
to a well-advanced point in the interpretation of the ideas of others,
the female student often outstripped the male
;
but
the highest
in
realms of musical performance, where individuality needed to be
blended with the text of the composer, there was a timidity that In the purely creative field he found
militated against progress.
scarcely any progress comparable to that of the intelligent and poetic
Svendsen,
male student. of
in
Norway, and Gade,
Copenhagen, long ago expressed almost But, in Europe, prejudice alone
woman from
in the
Conservatory
identical views
"to
us.
might well hold back many a
Fanny Mendelssohn composed several of the songs without words, and some of the vocal songs, which went under her brother's name but that brother firmly repressed any thought of her entering the field upon her own Once, when Queen Victoria, at the English court, told account. him how much she enjoyed singing his song " Italy," he was obliged entering the
field.
;
to reply that this particular
Fanny "
I
!
song was the composition
of his sister
Rubinstein warningly said to the sister-in-law of Chaminade
She ought
hear your relative publishes compositions of her own.
not to do that
" !
Nevertheless, this
ceeded
in painting,
is
a
woman's epoch
George Eliot
covers radium and sets a
Rosa Bonheur has
in literature,
new pace 293
;
in science,
Madame and
in
Curie
sucdis-
music, too, a
THE HISTORY OF AMERICAN MUSIC
294
Chaminade, a Clara Schumann, an Augusta Holmes, have broken down many barriers. We venture to believe that it has been insufficient musical education
and male prejudice that have prevented
female composers from competing with their male brethren in
art.
In the United States, where this prejudice has not existed, the female
composer was in the field contemporaneously with our Chadwicks, Parkers, and MacDowells and America can boast at least one female ;
composer who can compare favorably with any woman who has yet entered creative musical
art.
XI) was born (Amy Marcy Cheney) Henniker, Merrimac County, New Hampshire, on
Mrs. H. H. A. Beach in
the town of
September
1867.
5,
She
(PI.
is
American parentage, a descendant From the same ancestry came
of
of the earliest colonial settlers.
William Larned Marcy, who was successively governor United States senator. Secretary
of
New
of
War, and Secretary
York, State;
of
Randolph Barnes Marcy, the explorer of the Red River; Charlotte Cushman, the eminent tragedienne; and Major-General Dearborn of
Revolutionary fame.
to
have been a natural sequence
Mrs. Beach's musical inheritance appears of the devotion to
mother, and her maternal ancestry
;
music
of
her
while her strong taste for the
scholastic and mathematical side of her art seems like a reflex of
His family had never shown any
her father's mental qualities. active interest collegiate,
in
music, but had
and other educational
devoted
attention
to political,
affairs.
Gifted with absolute pitch and an accurate memory, the child constantly surprised her family and their friends with startling feats
from the time when she was a year
old.
It
is
said that at that
period she had unmistakably memorized forty separate tunes which
were always accurately sung by her. At times she would upon their being sung to her, until her mother was exhausted. of her favorite
mand and
all
anthems was,
the stars obey."
"
The moon
shines
Of the songs sung
full
at
insist
One
His com-
to her, she
always
remembered the way in which they were first rendered, and never permitted any variation from the original version. All substitutions and cadenzas were met with the stern reproof, "Sing it clean."
When
two years old she was taken to a photographer for a sitting, and when all was ready for the picture she suddenly surprised her
AMERICAN WOMEN IN MUSIC
295
audience by singing at the top of her voice, "See, the Conquering
The photographer, who had been
Hero Comes." one of
of the
chorus of the
Handel, exclaimed
:
Peace Jubilee) the celebrated chorus
first
Why,
"
practising (as
that
baby
is
really singing
it
That
!
more wonderful than anything we shall see at the jubilee." The picture was a success. No other punishment was ever needed than a little minor music is
for
the
little
hands that occasionally were mischievous, for
would make her disconsolate and she would
pleasure,
She
keenest enjoyment.
and memory
ciation
sit
this
Violin music gave her great
at once.
quietly for hours listening to
phenomenal
also exhibited
at a very early age,
it
with
literary appre-
but the musical side of her
nature rather outran the literary.
At
this
time the child was accustomed to show preference for
certain pieces of music that her as the blue, pink, or purple music. to this manifestation of
mother played, by designating Little attention
musical feeling, because
it
was
it
at first paid
was supposed
to
be connected with the color of the outside paper, with which musical publications were covered. that the
Afterwards
it
was
clearly demonstrated
music played was not satisfactory to the
child,
because
it
did not correspond with a scheme of color that she had in her mind,
and had no correspondence with colored wrappers. questioned,
it
For instance Key Key Key Key Key
of of
C F
:
When
carefully
was found that she associated colors with certain keys.
—
White sharp minor ) '
of
G
sharp minor
of
E
major
Yellow
of
G
major
Red
)
This association to the present time
of ;
Key Key Key Key
of
of of of
A major A flat major D flat major E flat major
Green
.... .... ....
Blue Violet
Pink
keys and colors continues with Mrs. Beach
but
we must add
that,
while
many composers
share this association of tone and color, their color-schemes are by
no means unanimous.
When
four years old this precocious child
much begging and piarjG
to
was allowed,
her great joy, to stand on a hassock
and play an improvised secondo
to a
at
after
the
primo played by her
THE HISTORY OF AMERICAN MUSIC
296 aunt.
From
played
correctly in
hymn-tunes
original
their
she
that
had daily access
time she
that
had
and with
keys,
heard
in
the piano, and
to
church and
full
harmony,
Sunday-school,
improvised melodies and accompaniments to children's poems, and played without fault chorales of "St. Paul," operatic duets, Beethoven's
"
Spirit
Waltz," and
many
of the Strauss waltzes.
composed
'1
which she named
Waltz," "
"
also
pieces
Golden Robin
"Marlboro
Waltz,"
"
Snowfiake
Mama's
Waltz,"
The
Waltz."
piano
few
a
She
com-
was
latter
posed while on a three months' visit
the country where there
in
She played
it
with
great spirit and precision the
first
was no piano.
time she touched the piano after
She had no
reaching home. culty in
making
transpositions at
Even
her pleasure.
difB-
before
she
had taken any theoretical instrucFig. 83.
— Miss
tion,
her writing was found to be
Makgaket Ruihven Lang.
musically correct.
she must have always
understood
the
It
relations of
seems
intervals,
as
if
for,
before she studied harmony, a glance at the page of music she
was playing, enabled her correct
At
key.
notes or keys, but
years.
harmony and not know the names
four-part
time she did
when she was
instruction In that time
and played were
use
six years old
in
the
of the
nothing would satisfy
These were begun by her mother giving her
her but lessons. regular
that
to
:
—
times
three
among
a
week
for
the
following
the large variety of pieces she studied
Hellers Etudes, Op, 47, Czerny's Etudes de Velocite (Book No.
i).
Harmonious Blacksmith," Mozart's Andante and Variations in G major. Handel's
"
Mendelssohn's
"
two
Songs," arranged by Dresel.
Chopin's Valse, Op.
18,
and others
in order.
AMERICAN WOMEN IN MUSIC Beethoven's Sonatas, Op. 49, Nos.
No.
2
;
with
all
the slow
and
i
2,
297
Op.
2,
movements and minuets
Op. 49. These were played with accuracy and much
No.
i
Op.
;
14,
of the sonatas as
far as
Best of
feeling.
all,
the child loved Beethoven's music, which she would play until com-
Her
pelled by force to leave the piano. that her
hand could not reach a
full
now was
greatest sorrow
chord, and was occasionally
obliged to omit the lower notes that she easily read, but could not touch.
When
made
seven years old she
number
a limited
of
public
appearances, playing works by Beethoven, Chopin, and others, and
own composition. At her warm interest, which
introducing a waltz of her writings of Bach attracted
this
time the
later
developed
into the greatest enthusiasm, especially for fugal compositions.
At
eight years of age, her parents settled in Boston, and here, while
her school studies occupied a large share of her time, the course in
pianoforte
instruction
begun by her mother was con-
so well
tinued by Mr. Ernst Perabo, and later by Professor Junius
At
and Professor Carl Baermann. sibly educating her
judgment and
the
same time she was
and rehearsals she was able
clarinet was,
and
is,
Her reverence and
deeper than for love for
its
Hill
insen-
feeling for orchestral music by
carefully studying the scores of standard certs
W.
works
to attend. all
at the
Her
many
con-
feeling for the
other orchestral instruments.
timbre has an interesting connection
with the fact that her maternal grandfather was a good performer
and great admirer
of the instrument.
While studying with Professor Hill in the winter of 1881-82, This the young lady's instruction included a course in harmony. course was afterwards supplemented by systematic studies in counterpoint, fugue, musical form, and instrumentation pursued alone for several years. She made translations of the treatises by Berlioz and Gevaert in
the
to aid her in the last-named
study of fugue she was
study.
accustomed
to
As an
committing Bach
fugues to memory, and then writing out their voices on staves.
Her
interest in choral
separate
works was very strong, and she was
a close student of the diversified productions of our societies.
exercise
many
choral
THE HISTORY OF AMERICAN MUSIC
298
The present writer recalls made with Teresa Liebe, the
a test of the fourteen-year-old prodigy, violinist, "
only played fugues from Bach's
wherein the young miss not
Well-tempered Clavichord," but
Her memory, her
transposed them into any required key. sion in playing, her
expres-
enthusiasm, her exhibitions of the sense of
Her
absolute pitch, were wonderful.
teachers considered her, at
that time, the greatest musical prodigy of America.
Her subsequent marriage Dr.
physicians.
one
to
December, 1885, eliminated There was no German career.
H. H. A. Beach,
in
the element of struggle from her art
aftermath of study, and Mrs. Beach
education has been completed too,
in
from the professional career
most eminent
Boston's
of
is
a composer whose entire
She was withdrawn,
America.
— her
a pianist being almost invariably to aid
subsequent appearances as
some
Whether
charity.
When
was an unmixed advantage we may not judge.
this
one considers
more luxurious road of ease that was opened, it is sufificient to be thankful that Mrs. Beach did not become in any degree sybaritical, but went bravely on, encouraged by her cultured husband, All of her best works followed her in the work of composition. the
marriage.
Her October
first
1883,
24,
On
Cheney.
public
appearance in she
Boston
being then sixteen and
that occasion she played
certo (Op. 60) with orchestra,
Mendelssohn in
minor
Since then
Orchestra. recitals
D
Boston,
New
concerto she
G
several
F minor
Symphony Orchestra under Mr.
Boston
still
Amy
Miss
minor con-
and as a solo Chopin's rondo
the age of seventeen she played Chopin's the
was on
pianist
Moscheles's
During the ensuing winder she gave
flat.
a
as
has
York,
appeared
At
recitals.
concerto with
Gericke,
and
the
Thomas's
at concerts
and given
Chicago,
Brooklyn,
Philadelphia,
and various other places almost every season, the programmes
some
of
her concerts and recitals being
own works.
With
the Boston
E
Theodore
Mr.
with
in
made up wholly
Symphony Orchestra
of
of
her
she has played
concertos by Beethoven, Mozart, Chopin, St. Saens, and herself.
work was a grand mass in E flat major, brought out by the Handel and Haydn Society in February, 1892, under
Her
first
large
the direction of Carl Zerrahn.
On
the
same evening Mrs. Beach
fW FIG.
84.
— MRS.
JULIA RIVE-KING.
¥.'"
f
AMERICAN WOMEN
IN MUSIC
301
afterwards appeared and played with the society and orchestra the
Upon
piano part of Beethoven's Choral Fantasy, she
scena and "
the
Following the mass, she composed a
an ovation.
received
aria
Wolken
Eilende
and orchestra, taking
contralto
for
from
"
her appearance
"
Schiller's
Mary
her text
for
Stuart."
was
It
same year as the mass, by Mrs, Carl Alves at a concert of the New York Symphony Society, under the direction of Mr. Walter Damrosch, and was the first work written sung
for the first time in the
by a
woman produced
Mary's
Behind her
Elizabeth. free
to
from
release
first
open
prison,
before
just
that of
is
her meeting
with
the dungeon, about and above her the
beautiful
the
air,
is
The scene
these concerts.
at
and the
foliage
which she intrusts messages
the music, to give the scene
"
wandering clouds,"
Through
of love to her native land.
more
local
coloring,
heard an old
is
familiar Scotch air.
In the following year Mrs. Beach
Board
to write a
was invited by the Executive
composition for the dedication
of
Building of the Columbian Exposition at Chicago.
covery of the
fifteenth,
Mrs. Beach
felt
should in some way represent the
She therefore
Woman's
As
the occa-
century the enterprise in
nineteenth
sion celebrated in the
the
that her share of the
selected themes characteristic of Gregorian writing, in
modern
the
produced the Festival Jubilate, for chorus and orchestra, weeks.
It
Mr. Theodore
Thomas and
again later in
New York
Soon
after
this
Maud
Miss first
time in
Mrs. Beach began the Gaelic symphony
number
finished in the spring of 1896
Symphony Orchestra under Later performances
of
and
genuine Gaelic themes. first
— so
It
was
performed by the Boston
the direction of Mr.
were given
of
During
of the concerts of the musical congress.
called from the use of a
ber.
and
in exactly
City.
Columbian Exposition Mrs. Beach played with Powell her romance for piano and violin, for the one
style,
was successfully performed under the direction
the
public, at
music
union of the two centuries.
augmented, harmonized, and orchestrated
six
dis-
in
Emil Paur
New
York,
in
Octo-
Brooklyn,
San Francisco, and Chicago, the latter under Mr. Theodore Thomas. A sonata in A minor for piano and violin Buffalo,
Kansas
was written
in
City,
the six weeks following the completion of the sym-
THE HISTORY OF AMERICAN MUSIC
302
Mrs. Beach played the work with Mr. Franz Kneisel at one
phony.
January (1897). The same Boston, New York, and in Cambridge
of his quartette concerts in the following
played
artists
at
again in
it
Beach has performed
Mrs.
of the university concerts.
one
it
on numerous occasions with other violinists. It was given in Berlin by Carreno and Halir, in Paris by Pugno and Ysaye, and in London by Henry Bird and Sigmund Beel. Regarding these two works, one can say that they are the most important ever written in America by a woman. Yet one would have preferred a
less epic
Better a fluent suite than a labored
best expression.
Yet
would be unjust
it
to say that
by Mendelssohn
The
parison.
;
and the
movement
first
mastery of the form
As
evident.
made
scherzo
is
necessity provoke a com-
of
"
Scotch
this
in
movement) is pleasingly symphony, there is much
the sonata
(at least, of
clarinets
symphony is dull. symphony in A minor
betrays a lack of ease, although the
Mendelssohn's
the
being
clarinet
The
of
in
must
title
symphony.
Gaelic
this
not nearly so Scottish, however, as the
It is
use
form than a symphony for the composer's
"
work, even the unusual
employed
bass
movement. an orchestral gem, and the slow movement, which very
here comes third,
boldly
in
the
also beautiful, although
is
lento
perhaps carried out
at too great length.
The
violin sonata
(the third
is
best in
movement) being
and
last
movements, the largo
spontaneous.
Mrs. Beach in her
its first
less
classical productions holds loyally to the sonata form,
vague or meaningless
in
her development-work.
and thematic treatment are present in both the sonata. She seeks the largest forms by choice. has an extra
movement
in
its
largo,
April is
7,
1900, the scherzo
powerful enough to
never
Good counterpoint symphony and the The violin sonata in
C
In this concerto, played by
Symphony Orchestra is
is
and the piano concerto,
sharp minor, has also an interpolation. Mrs. Beach with the Boston
and
for the first time
altogether charming, and the finale
make any
critic,
who does
not believe that
woman
can create music, become rather doubtful about his position. Strangely enough, in a piano concerto written by a pianist, the
orchestra
The
dominates matters throughout almost the whole work.
finale presents
some
excellent figure development.
FIG.
85.
— MISS
LEONORA JACKSON.
— AMERICAN WOMEN
IN MUSIC
305
must not be imagined that this composer has only aimed at symphony, mass, concerto, and sonata she has gone beyond the fiftieth opus number, and some of these opera are made up of There are many piano compositions in several numbers each. It
;
the small forms, from easy pieces for children to transcriptions of
Richard Strauss, and a furiously cadenza to the
movement
first
of Beethoven's
properly developed)
C minor
piano con-
In her songs Mrs. Beach shows a tendency to complexity,
certo.
the ingenuity that
born of
is
her simplest moods she "
difficult (yet
The
and
Blackbird,"
examples
To
of direct
those
who
Wilt
thou
be
But
development.
in figure
The
very charming.
is
"
skill
my
"
in
Western Wind,"
Dearie
.f*
are
"
good
and unaffected musical utterance. believe
that
women who
achieve greatness in
mind and manner, unsexed phenomena, we may say that Mrs. Beach is most womanly in all Art does not recognize sex, and, if we have spoken her ways. of Mrs. Beach at some length and apart from her brother compos-
any
art or science
ers,
it
time
must be masculine
in
has been done to point a moral, which express
to
unbelief
is,
that
woman's musical powers only
in
chances have been given to both sexes and
equal
be
will
it
after
trace of
all
prejudice has disappeared.
Boston presents the name of of composers.
who
another
has
won
the daughter of Benjamin
is
his great successes in
all
His daughter
teaching and has published nothing.
November
in her musical tastes
;
but
It
was
it
but
in
violin
at
well, for
Lang, the
conducting and is
rapidly restor-
Mrs. B.
J.
an excellent amateur singer.
Lang
is
Miss
composition before she was twelve years
at this juvenile period that she wrote
piano quintette.
J.
There was paternal influence shown may be added that something may have
predilections and
Lang began her attempts old.
host
27, 1867.
been inherited from the maternal side as of musical
its
Miss Lang (Fig. ^^^ was born
ing an average and publishing much. in Boston,
woman among
Miss Margaret Ruthven Lang comes by her talent
quite legitimately, for she
musician,
still
She studied
violin in
one movement
of a
Boston under Louis Schmidt,
1886 went to Munich, studied with Drechsler and Abel in
and Victor Gluth
in
composition.
lected on her return, for she
X
became
Nor were her
a pupil of
George
studies neg-
W. Chadwick
THE HISTORY OF AMERICAN MUSIC
3o6
in orchestration, E.
A. MacDowell
in composition,
and worked
also
with other teachers in Boston.
Miss Lang has aimed
at the large
forms
;
not at
if
symphony or
concerto, at least at classical overtures for orchestra, of which she has
written three, and also an orchestral ballade and songs with orches-
Yet we
tra.
Some "
Ghosts
Her
it
seeks the smaller forms.
her songs have a keen poetic instinct and originality as
of
Her
grace.
as
well
work best when
like her
"
Irish
overture,
Thomas and
"
Lullaby,"
"
Lament," and
masterly efforts in the vocal direction.
are instances of
"
Mother's
Witichis," was performed in Chicago by
Max
again under
Theodore
This work we have not
Bendix.
Her "Dramatic Overture" (Op. Boston Symphony Orchestra under
heard yet in the East.
been given by the
has
12)
Nikisch.
has some strong contrasts, especially between the chief theme
It
The
and the subordinate.
To
tender and human.
first
is
grim and mediaeval, the second
place these two in juxtaposition in
itself
gives something of dramatic power, and the development of both is
singularly unconventional.
The concert aria for soprano and orchestra, is made from a version that deals rather too The setting is by no means as dramatic as its the
composer seems
great
death-scene.
freely
Armida,"
with Tasso.
poetic subject, and
have missed the majestic power
to
But
forms especially, Miss
entitled "
work, and
in less intense
Lang has won
a
of
the
the
smaller
leading position
among
in
song-writers.
From
the host of
women composers
gone beyond dilettantism
in their
America who have not numerous works, a few may be in
singled out as having achieved real success in the smaller forms of vocal or piano music. in
Chelsea
(a
Miss Helen
Hood
suburb of Boston), June
piano studies under
Benjamin
J.
is
28,
the
first
of these.
Born
1863, she pursued her
Lang, and subsequently under
Moszkowski in Berlin. Her teacher of composition was George W. Chadwick. Miss Hood has occasionally composed in the larger forms, and a piano trio, a Te Deum, and a string quartette are to be placed to her credit
;
but her fame rests chiefly on her very
graceful songs and piano sketches.
and
violin
is
the
first
that
Her
trio for piano, violoncello,
was composed by an American woman,
AMERICAN WOMEN and her
sets of violin
IN MUSIC
307
She received
and piano pieces deserve record.
a diploma and medal from the Columbian Exposition for her meritorious In
work
in
composition.
a smaller field again, but especially successful in
is
it,
an
American lady who was born in St. Louis. Mrs. Jessie L. Gaynor has written piano works and vocal quartettes, but her 7itetier is the In this juvenile vein she has no
production of songs for children. equal
among American women.
She was
and Frederic Grant Gleason, and she composer. Dr. Louis Maas.
Some
a pupil of A.
Goodrich
J.
also studied with the
of her
eminent
songs are more developed
than one would expect to find in juvenile compositions, and readily be used
by children
of a larger
growth.
They
are
all
may
poetic,
we have seen them, and unite w^ords and music closely. Some other American women-composers should be mentioned Mrs. Edith Noyes Porter has written orchestral works here. and chamber-music, and has published some graceful songs and instrumental works. She is a pupil of Chadwick and others, and has had the assistance of Emil Paur, who has spoken of her work as very promising. She is of an old American family, and her mother, Jeannette Noyes (Mrs. George B. Rice), is a prominent alto singer. Miss Mabel Daniels also comes of a musical family, her father, George F. Daniels, being president of the Handel and so far as
Haydn Society. Miss Daniels has written a pretty operetta and many shorter compositions. She went to Germany in 1903 to finish her musical studies.
Among
women-composers who have settled in the United States, Mrs. Clara Kathleen Rogers ('' Clara Doria ") holds high rank. She is English by birth, and comes of very musical lineage. She has had the best of training in Germany and Italy in
foreign
harmony, counterpoint, piano, and
of those rare people (of
whom
She
voice.
Sembrich
is
is,
therefore,
one
an excellent type) who
Her compositions comprise a string quartette, a violin sonata, a violoncello sonata, a large number of songs, and a few piano works. She has made her home in Bos-
are musicians as well as vocalists.
ton for the last quarter of a century.
Helen Hopekirk (Wilson)
is
resided in Boston for a long time.
a
Scottish
She
is
artist
who
has
also
a brilliant concert pianist
THE HISTORY OF AMERICAN MUSIC
3o8
who
has,
however, not rested upon her platform fame alone.
has composed
many
number
One
of Mrs.
tish folk-songs.
of
in
Hopkirk's most valuable works
Almost every editor
may
— Mme.
some degree with the
poser has kept both the It
a concert-stuck,
in
Fig. 86.
tampered
among them
Edinburgh under Henschel, in 1894, and powerful songs and advanced piano morceaux.
which was performed a large
orchestral works,
She
spirit
and
is
a
volume
in this school of
of Scot-
music has
Camilla Urso.
old Gaelic tonality
;
but this com-
letter of the ancient scales intact.
be recorded, therefore, that one of the most important contri-
butions to the most varied and expressive repertory of foreign folkmusic, was
made
in
America, by
this talented
composer.
American pianist who must be mentioned here as a composer. Mrs. Julia Rive-King (Fig. 84) was born in Cincinnati, October 31, 1859. She studied in America with William Mason and S. B. Mills, finishing in Europe under Reinecke There
is
also a purely
AMERICAN WOMEN IN MUSIC and
and has played
Liszt,
She has composed
many
in
several brilliant
309
concerts with Seidl and Thomas.
works
for piano,
and made some
concert transcriptions of Liszt's and Scarlatti's w^orks.
The United
States has produced or adopted artists in every field
of
musical execution.
of
American music
It
may
not be the purpose of a history
speak of them in
to
have undoubtedly aided the development
detail,
for,
while
of musical taste
they
in
our
country, they can hardly be regarded as leading factors in the devel-
American music. They are interpreters rather than creators of music. Yet a list of the chief of these is appended. In piano playing, America has one of the greatest artists of the
opment
of
present in Mrs. Fannie Bloomfield-Zeisler, who, although born in
Austria (July
was two years
since she
European
Chicago almost continuously
1866), has dwelt in
16,
from
tours
old,
that
making her extensive American and centre. She has composed little,
however.
American women have been numerous and notable, as, for example, Arma Senkrah-Harkness (New York, 1864), whose career was so sadly terminated a short time ago; Nettie CarIn violin playing the
(New York,
penter
Maud
1865);
Leonora Jackson (Boston, 1879) daughter
of
the
American lady
due
in
Possibly the large
some degree
to a lady
as long
much
tion derived
of
who was Nantes,
in
ago as 1852 made a strong
many
of
Other American
our young musicians, particularly
female sex, to take up the instrument, and ascribe
list
But she came to America when only ten years
and a concert tour
caused
1868);
and Geraldine Morgan,
impression on the violin playing of America. tours
Illinois,
Camilla Urso (Fig. 86) was born
not an American.
of age,
(Fig. 85);
New^ York organist.
violinists is
France, in 1842.
Powell (Aurora,
of the success of
from Camilla Urso.
it
is
not too
of
much
the to
our female violinists to the inspira-
She died
in
New
York, January
20, 1902.
The name of the great American vocalists, of both sexes, is legion. One can begin the list in the early days of American musical performances, with the great basso, Myron W. Whitney (Ashby,
Massachusetts,
1836),
and
continue with
Clara
Kellogg (Sumterville, South Carolina, 1842); Charles
R.
Louise
Adams
THE HISTORY OF AMERICAN MUSIC
3IO
(Charlestown, Massachusetts, 1845?); Annie Louise Cary, noblest
(Wayne, Maine, 1846); Emma Abbott (Peoria, Illinois, 1850); Emma Thursby (Brooklyn, 1857); Marie van Zandt (New York, 1861); David Bispham (Fig. 30) (Philadelphia, 1857); the
of contraltos
most triumphant
of
AmQucdin prime
(Fig. 31)
— (Farmington,
(Nevada
City, i860);
(Fig. 32),
Maine, 1856);
who, although born
but as
it
(Fig.
stands
it
The
2)2))-
will
show
Ambroise Thomas once
home
of
Emma Fames be
to
is
American parentage Sybil San1865); Suzanne Adams (Fig. 35);
of
;
list
could be extended even farther,
that the preponderance of America's
vocal contribution to the world
be the natural
Norton
Shanghai, China (1867),
in
derson (Sacramento, California,
Homer
Lillian
Ella Russell (Cleveland, 1862);
ranked as an American, being Louise
— Nordica Emma Wixom — Nevada —
doJt7te,
said
is
in great sopranos.
to
the soprano
us, !
"
"
Your country seems
No
scientist
has yet
vestigated the cause of national characteristics of voice.
It
to in-
may
be climate, or food, or heredity, that causes north Spain to bring forth tenors
contraltos
;
;
Switzerland, male falsetto singers
Russia, basses
;
("
jodlers
and America, sopranos.
")
;
England,
But the
fact
remains, that as regards great musical executants and interpreters
America has given more prominent operatic sopranos to the world than it has of pianists, organists, or violinists. Yet in these fields, too, we have not been without worthy and world-famous representatives.
CHAPTER XVI MUSICAL CRITICISM AND AUTHORSHIP
We
have already outlined the beginnings of musical criticism
The
America.
in
description,
earliest musical
combining music and
ous manner, and worshipping
journals were of a very mild a rather incongru-
belles-lettres in
at the shrines of
Handel and Haydn,
The
with a very limited knowledge of even these two masters.
An
reviews were almost entirely rhapsodical.
"criticism" meant in 1820
may
example
of
what
be given in the following citations
(we include their misprints and grammatical errors), not better or
worse than dozens
of other essays of the "
"
The
same epoch
:
—
MR. OSTINELLl's CONCERT
exertions of this truly scientific and accomplished musician,
were never more conspicuously exhibited, than on Thursday evening, at
Boylston Hall.
The
selections for performance, were chaste
and
well arranged, the applause resounding from every part of the Hall,
was
reiterated in thundering peals.
We
have not room,
at
this late
hour, to particularize the several masterly scintillations of genius, fancy,
and
taste, " '
and can only add,
He wak'd the He showed his "
"
soul
by tender strokes of
genius,
and he's won a heart.'"
MISS DAVIS'S
The sudden and unexpected
art,
CONCERT
departure of this young lady from
our City, and particularly from her numerous pupils,
is
a source of
considerable regret, the more so from the evident and rapid improve-
ment they have acquired, during the very short term of her stay. At the instigation of her most immediate acquaintances. Miss Davis was induced to sfive a Concert of vocal music, on which occasion the 311
"
THE HISTORY OF AMERICAN MUSIC
312
Handel and Haydn Society generously tendered Boylston Hall, and Doct. G. K. Jackson, with several ama-
Government the use of
of the
teurs volunteered their services. " It is
of St.
on
we
a circumstance of notoriety,
notice that the
Church Choir (who alone volunteered
Paul's
their services
have manifested a sensible regret, at the sudden
this occasion)
departure of this interesting and truly classic vocalist,
and assistance as
essentially contributed her aid
performance
Gentleman
first
who
has so
Soprano, in the
Handel's Music in a style of superiority, to which we
of
are in a degree unaccustomed, to hear in this country.
Nor can we
omit to add our reluctance, in the acknowledgement, that a public loss will "
be incurred by her absence.
Miss Davis made a very happy selection
received by an admiring audience, " '
At
this
Her
last
who were
of
Songs, which were
fully persuaded, that,
notes were the sweetest.'
time the daily press had nothing that could, even by the
wildest stretch of the imagination, be called musical criticism.
New
great concert was given in Boston or it
the affair was critical
"
fact that the hall
The
very successful."
a
York, a brief mention of
was sometimes made two or three days
merely chronicling the
If
after
the event, often
was crowded, or stating that
first
attempt at anything like
reviews of music and musical performances was
made by
Dwight's Journal of Music (established in 1852), which became a powerful factor in moulding musical opinion, although it had but a limited circulation.
John Sullivan Dwight
may cism.
Z']),
the founder of this periodical,
therefore be justly called the father of
He was
born in Boston,
Harvard College logical School, field
(Fig.
for six
for literary
in
1832.
He
May
181
3,
He
studied in the Cambridge Theo-
in the ministry, but
have had a predilection for music. taste, his
at a time
at
in that
wrote some excellent essays and reviews
magazines while
very conservative)
criti-
and graduated
and then entered the ministry, continuing
years.
and trebly so
13,
American musical
As he had
seems always
to
a refined (although
work, intrinsically valuable, was doubly
when
for public opinion in this art.
there were no well-equipped guides It
is
amusing
to
note that some-
!
MUSICAL CRITICISM AND AUTHORSHIP
313
times his musical essays were held as somewhat more valuable than
The eminent Theodore Parker once
the works they chronicled.
exclaimed,
after
reading one
Mr. Dwight's eloquent reviews,
of
"Fancy making all that out of a musical work!" ning Dwight worked with great zeal to acquaint the beauties of Handel,
music.
classics
in
musical
festivals,
men
of such
years he fought against monster
In his later
and was
public with the
Beethoven, and the accepted
Mozart,
Bach,
In the begin-
opposed
bitterly
to the
more
radical
works
and Wagner.
as Berlioz
In these days of Richard Strauss and
Vincent d'Indy, we have gone
far be-
yond what Dwight would have
called
The
musical blasphemy.
vance in music
may
garded
ad-
be illustrated by
Dwight was
statement that
the
rapid
re-
in his early years of journalism
as too radical, yet long before the of his days his views
were held
end
to be
entirely too conservative
Dwight
had
the
advantage
of
associating with the brightest Ameri-
can
men
of
and science, the
letters
broadest thinkers of his day.
In 1842
Fk;. 87.
— John
S.
Dwight.
he joined the Brook Farm Association, a
gathering of the chief idealists of the time.
It
would be
aside from our purpose herein to speak of this association, but one
obtains the clew to his friends.
him
some
He had
of this early critic's
enthusiasm
a long and successful career,
in his declining years in
many
ways.
He was
of other
studying
and Boston honored for a long time
presiding officer of the Harvard Musical Association
and Hugo Leonhard, and a host
in
;
Otto Dresel
advanced musicians
of
became his close friends and advisers finally a great benehim by the leading musicians of the city. fit concert was given But the tide had swept past him, when, for a short time, he reentered criticism and became musical reviewer of the Boston Trmtscript. Many skilled reviewers had gone beyond him, and his poetic views and conservative standard no longer attracted much attenthat day,
;
THE HISTORY OF AMERICAN MUSIC
314
He
tion.
died, full of years,
September
1893.
5,
gone out of existence a dozen years before. Dwight was the pioneer of our musical ing the
years of
first fifteen
America.
W.
existence,
were
Its contributors
in
His paper, dur-
the history of music in
is
themselves a band of notable
American biographer of Dresel was another, and
Thayer, the famous
reviewers.
A.
Beethoven,
was one
of
Leonhard, Mathews, and to
its
critics.
His journal had
Otto
these,
many
other celebrities often contributed
columns.
its
name
In the musical literature of America, the
of
Alexander
Wheelock Thayer must
certainly be accorded a foremost place
by a strange irony
fate,
of
his
best
work
is
;
known
scarcely
yet,
at
American readers. Thayer was born at South Natick, MasHe graduated from Harvard Unisachusetts, October 22, 181 7. versity in 1843, and was then appointed assistant librarian at the During six years of service in the library Thayer became college. imbued with a fixed purpose, which was nothing less than to devote his life to writing a biography of Beethoven. It was a bold undertaking for a young American and a man none too well off in all
to
this world's goods, but
He went
tion.
he set about his task with grim determina-
abroad for two years (1849-51) and collected
much
ence.
Germany, supporting himself by newspaper correspondIn 1852 he was in New York as one of the editorial staff
of the
Tribune, but this was only a temporary makeshift,
material in
years afterward (1854), he was back in
monumental work.
He was
again
who entered into his who assisted him toward
in
Germany arranging Boston
in
project
those
achieving results one
Mason.
with
Mrs. Mehitable
for his
Among
enthusiasm.
Adams
two
1856 and found
friends
especially Lowell
for,
may mention
also
gave mate-
and 1859 found Thayer hard at work at his chosen task. The first volume appeared, in German, in 1866. Thayer had de-
rial aid,
of the great
German
in their vernacular.
There-
termined to give the original edition of the
composer
to his
own countrymen, and
fore the manuscript, written in English,
by Dr.
Herman
life
was translated
into
German
Deiters, himself a musical biographer of note.
By this time, fortunately, Thayer's circumstances had somewhat for the better. In 1862 he had been attached
altered to the
MUSICAL CRITICISM AND AUTHORSHIP American embassy short
time
States
before
consul
Three years
of
first
in
he held until his death.
biography with a thematic
of his
The second and
the kind in existence.
biography appeared
United
Beethoven's works, the most thorough
of
list
volume
Thayer
appointed
a post which
Trieste,
Thayer preceded the
President Lincohi (but a
later
assassination)
his
at
and chronological
Vienna, with every opportunity for prosecut-
in
ing his researches.
315
third
volumes
of
list
the
1872 and 1878, and several contributions to
Beethoven iana had been published by the indefatigable researcher in
the meantime.
English publishing houses offered Mr. Thayer tempting sums
volumes
for the privilege of translating the
of this biography, but,
although the consul was quite poor, he could never be induced to
His plan was,
accept these offers. pleted in
German,
to give forth a complete revision of
This was, however, not health gave
efforts, his
before the fourth
and
to be
;
volume
vast literary enterprises, such as
and
("Geschichte der Musik"),
at Trieste,
July
German
the
of
"
Fetis's
Histoire edifice.
many of
written,
when one
ability into
But
account
— possibly
Generale," and
Nevertheless
takes minuteness,
size,
reli-
biography Americans have also
found for themselves a place beside the
books on
general interest, and
— was achieved by an American author.
The American works upon
same theme.
life of
the greatest musical biography ever
in other fields of musical
laurels.
other
Music"
with pride that the bibliographer records that the chief
the great musician
1897,
15,
version was
Ambros's great "History
remains an unapproachable but unfinished
won
in English.
exhausted with his unceasing
for,
way and he died final
it
Thayer's great work has suffered the fate of
finished.
it is
work had been com-
after the
Wagner topic have German essays upon the the
Finck, Kobbe, and Krehbiel have written remarkable
this subject.
Henry Theophilus Finck in Bethel, Missouri, not far
brought up
in
Oregon.
(Fig. 88)
was born September
22, 1854,
from Mark Twain's birthplace, and was
In 1872 he entered Harvard College with
the intention of becoming a physician philosophy, under Professors
;
but he found the study of
Bowen and Palmer,
so attractive that
he changed his mind and decided to become a professor of psy-
THE HISTORY OF AMERICAN MUSIC
3i6
In 1876 he graduated with high honors in philosophy,
chology.
and two years later Harvard gave him the Harris fellowship, which enabled him to continue his studies in psychology and sociology At Harvard he at the universities of Germany for three years. had taken Professor John K. Paine's courses in music, and while in Europe he frequently wrote on musical and other topics for New
York
periodicals.
This led
an invitation to join
to his receiving
Evening Post, at the time when Carl Schurz, Lawrence Godkin, and Horace White Nation and
the editorial staff of the
also of the
ruled their destinies.
Mr. Finck began his biography
of
musical festival at Bayreuth, in 1876. of the great
composer there and
his biographical work.
for
at
Wagner soon after the first He made the acquaintance
once began gathering material
The completion
of
the
two volumes
many years, and it was not until 1893 that the first edition Since that time it has gone of " Wagner and his Works " appeared. through many editions, and while it is written from the standpoint occupied
of a
most pronounced admirer,
books
the field of
in
Wagner
Other musical works
of
it
is
one
of
the most influential
literature.
Mr. Finck's are a volume of essays
on Chopin and other composers, " Paderewski and his Art," and "Songs and Song- writers." The most recent work of Mr. Finck is also his most important. It is a complete American edition of the four operas of the Nibelungen Ring (Cincinnati, 1903). The work is probably the largest single one ever issued from the American press as a musical score, and the labor of editing, translating, and correcting to the
it
must have been stupendous.
Wagner
very decided ground, and he attacking
newer school.
a great contribution
cause in America, bringing the gigantic work within
reach of the music student.
matters,
It is
He
the
old
In is
all
of his
books Mr. Finck takes
a bold iconoclast in
many
musical
forms and fighting valiantly for the
sympathy with the sonata and symphony writers. He has been an ardent champion of Liszt and Grieg, and an opponent of Brahms. His writings on other than musical topics are also most poetic and interesting. Although is,
unfortunately,
not in
aside from our topic, one cannot refrain from mentioning his
time in Japan" and "Romantic
"
Lotos-
Love and Personal Beauty"
as
FIG.
88.
— HENRY
T.
FINCK.
MUSICAL CRITICISM AND AUTHORSHIP books of excellent
But
caliber.
it
is
in the field of
319 musical biog-
raphy and criticism that Mr. Finck has become a power, and his
make him one
strong likes and dislikes
most militant war-
of the
riors in the cause of progress.
The second Kobbe, was born late
Wagnerian writers above named, Gustav New York, March 4, 1857. His father, the
the
of in
William A. Kobbe, was
being a native of the
for
Duchy
many
of
years in the consular service,
His mother was Sarah
Nassau.
New
England woman of Spanish descent, her first ancestor in this country having been a Spanish sea-captain, who, early in the eighteenth century, was wrecked off New London and Lord
Sistare, a
Kobbe (1867-72) with Adolf Hagen afterward settled there.
New
Mosenthal in in 1877,
and from
studied pianoforte and composition in
Wiesbaden;
He graduated Columbia Law School in York.
later
with Joseph
from Columbia College 1879.
He
is
the author
"Wagner's Life and Works," with the leading motives in notation (two volumes), which has passed through several editions, especially that part relating to the " Ring of the Nibelung," which has been of
Opera Singers," " Signora," " A Child of the Opera House," " My Rosary and other Poems," " Miriam, a Story of the Lightship," are among his works, and he is one of the bestknown American magazine writers on musical and dramatic matters "
printed separately.
as well as
on miscellaneous subjects.
Kobbe's for
its
"
Wagner's Life and Works
" is
valuable to the student
analytical character, the succinctness
and clearness
of
its
statements, and for the care with which the author avoids polemics in
his
presentation
of
the
composer,
of
Mr.
his
Kobbe
makes him almost neutral better
subject.
in
writes
Although a great admirer with
some
judicial
the midst of conflict.
avoided the fjiror biogi^aphicus.
topics for
a
poise
No man
that
has
His work on musical
of the leading encyclopaedias has
been remarkably
exact and painstaking.
Mr. Henry Edward Krehbiel, the third of the above-mentioned writers (Fig. 89), has for
many
years been the musical reviewer of
Tribune and has won an enviable position among American musical essayists by his works. He was born in Ann He was for a time a journalist Arbor, Michigan, March 10, 1854.
the
New York
THE HISTORY OF AMERICAN MUSIC
220
music beginning
in Cincinnati, his studies in
he had attained
after
an excellent reputation as a general writer. He studied law for a time in the West, but became musical critic of the Cincinnati
He
Gazette in 1874 and held that position for nearly six years.
afterwards became musical critic of the
and
New York Musical
also editor of the
career
beginning
literature has
Philharmonic
books, records of the laity entitled
work
historical
"
How "
entitled
Krehbiel's
and as a
musical year-
an important book
Music," an interesting
Manners
in
the
Classical
been widespread and some
works have become very popular.
verselle),
many
and edited innumerable other works.
influence has
the International Jury of
Wagnerian the Wagnerian
Studies in
Listen to
to
New York
the
to
Society,
Music and
Period," and has translated
Mr.
"
been a volume entitled
Besides this work he has written
Drama." for the
Review, his
His contribution
1880.
in
Tribune as above stated,
Awards
1900 he was a
In in
his
of
member
of
Paris (at the Exposition Uni-
result of his services received the decoration of
Chevalier of the Legion of Honor. It will
readily be seen that the chief musical authors of
have been the principal musical
New York
and
critics
America
In the cities of
as well.
Boston musical criticism has already reached a
higher plane than in some of the European centres of music, only
Germany equalling America in this important adjunct of the The influence of William H. Fry (already spoken of) was widespread than that of John S. Dwight, since New York was as active in musical matters (save in
Italian opera) as
the middle of the nineteenth century. for Italian
music did much for America
appreciation was in process of
York has evolved a number of three Wagnerian authors already and vigorous
art.
less
not
Boston, in
Yet Mr. Fry's enthusiasm in the
formation.
days when musical
Since that time
New
able reviewers in addition to the cited.
One
of the
most trenchant
James Gibbons Huneker, whose work in the columns of the Musical Courier has been valuable in a high degree. Mr. Huneker is very modern in taste, and his writing is perhaps the best example of pungency in musical criticism that
we have
in
of
these
America.
lowed the sprightly
is
Musical comment with us has generally style of the Yrench. /euilleton.
This
is
fol-
not to
MUSICAL CRITICISM AND AUTHORSHIP be regretted, and has the warrant
The heavy
such able reviewers as Hector
of
Edward Hanslick, two
Berlioz and
of the leading critics of the world.
vein of reviewing that obtained in England until recent
times has never taken root in America.
been active are
somewhat
is
"
Mr. Huneker has
Mezzotints in Modern
Music
"
bizarre,
morbid,
times
at
life
Chopin
of
an excellent work. detailed than
It is less
the
"
critic,
Melomaniacs"
his
but his
His
in authorship.
and and
In accordance with the
tendency of the average American
literary
321
by Niecks, but
life
advance
far in
of
that
by Karasowski or the essay
by
brief,
the
—
Liszt,
single
best
volume upon
in
this sub-
ject that exists.
Most can
Ameri-
of the
critics are practical
musicians and Mr. Huneker is not an exception to this
He was
born
sic
Phila-
in
January
delphia,
i860,
rule.
31,
and studied mu-
there with Michael Fig. 89.
— Henry
E. Krehbiel.
Cross, subsequently continuing his work in Paris. the
At
New York present he
has been teacher of piano in
National Conservatory of Music for is
engaged upon a
Another musical
among
He
critic
of
life
(Fig. 90),
who was born
at
Newark,
have been chiefly educational
is
New
and graduated from Princeton College
years.
of Liszt.
New York
the writers of musical literature
many
whose name stands high William James Henderson Jersey,
in 1876.
in character,
December
4,
1855,
His books on music
but are very bright and
;
THE HISTORY OF AMERICAN MUSIC
322
He
readable as well as reliable.
possesses a style of writing that
makes him one of the most popular of art critics. He is able to speak upon musical topics without becoming either technical or dull and he has the happy faculty of leading his readers into the realms of higher musical appreciation without making them too self-conHis terseness and his dry humor are scious during the process. great factors in achieving this result, and his " Story of Music " can be comprehended and appreciated by
that legion
all of
who
"
don't
Even in such abstruse topics as his explanation orchestra he has managed to convey his message to the public
understand music." of the in "
an easily grasped series
What
Good Music,"
is
"
How
Orchestra and Orchestral Music
He has been New York Sun
cations.
and the
"
of descriptions.
"
The Story
Music Developed," and
some
are
of his
connected with both the ;
of Music," "
The
best-known publi-
New York
Times
and aside from music, he has written books
on navigation, yachting, and other themes.
we have mentioned have written magazine articles, essays, programme annotations, and have given lectures as well. The American musical reviewer is a decidedly active and manifold influence in American musical matters. One prominent New York critic, however, has not entered the field of book-making, Mr. August Spanuth, who has written criticisms for the German press, and has won rank as composer and pianist as well as journalist. All of the writers
—
In Boston, during the latter days of Mr.
D wight's
regime, there
suddenly sprang up a number of able musical writers.
It is
good
evidence of the rapidity of musical growth, that during the palmy days of its
D wight's
Journal of
Mtisic, every
newspaper
in
Boston allowed
musical reviews to be written by any reporter, while at present
almost every newspaper of the city has opinion.
work on
critic is
"
Musical Education":
not a reporter; he
cator and a professor; his pupil
is
is
York.
One
of
—
an initiator and guide, an edu-
the public."
Such guides were soon forthcoming
New
expert to guide musical
Albert Lavignac, of the Paris Conservatoire, has wisely
written in his
"A
its
in
the earliest, after
Boston as they had been
D wight
Benjamin Edward Woolf, an Englishman, born
in
in
and Thayer, was London, February
MUSICAL CRITICISM AND AUTHORSHIP
He came
16, 1836.
from a family
music practically with
of operatic
323
conductors and studied
He
his father's theatrical orchestra.
conducted
many American cities, and finally at the Boston He brought forth many compositions of his own, and his
theatre orchestras in
Museum.
drama was
influence in light opera and in
He
contributions to musical criticism.
"Westward Ho," two works
wrote
Pounce
&
Co." and
"comic opera" vein which does American music but it is only just to ;
He
add that these were better than their school.
Doctor
"
in the
not represent the best taste in
for Eichberg's "
important as his
fully as
work
of Alcantara," a
wrote the libretto
of excellent character,
and he composed madrigals, overtures, string quartettes, and even symphonies, although the
and are yet
in manuscript.
who
He began
musical
critic of
some
Woolf was easily entered American
had, up to 1870,
in that
year on the Boston Globe, but
staff of the
Saturday Evening Gazette,
social influence.
In his later years he was
soon attached himself to the a weekly paper of
publicly performed
All together, then, Mr.
the most thorough musician
musical journalism.
named were not
last
the Boston Hei^ald.
From Mr. Woolf's English and
rather conservative training
it
was but natural that he should be out of sympathy with the radical modern school. He was at one time one of the fiercest opponents of the
Wagnerian music, and
his bitter
him feared by many who held musical ability
with.
He
He was
different opinions.
sublimely savage in his reviews. his great
sarcasm and invective made often
But, in spite of these limitations,
made him an
influence to be reckoned
died in Boston in 1901.
Almost contemporaneous with Mr. Woolf was William Foster Apthorp, who was thoroughly trained for a musical career, but comMr. Apthorp was born in Boston, October posed little or nothing. 24, 1848,
and graduated from Harvard
in
with Professor John K. Paine and Mr. B.
time teacher of theory in the in Boston.
He began
1869. J.
New England
He
studied music
Lang, and was for some Conservatory of Music
his career as a musical critic
on the Atlantic
Monthly in 1872, after which he occupied the same position on the Sunday Courier, the Boston Traveller, and finally (1881) he became The latter musical and dramatic editor of the Boston Transcript. position he held until 1903, in which year he departed for Europe,
THE HISTORY OF AMERICAN MUSIC
324
where he now
resides.
Mr. Apthorp's volumes are
Musicians and
"
Music Lovers," " The Opera, Past and Present," and several transHe has done excellent work as the lations, chiefly from the French.
Symphony
compiler of the analytical programme books of the Boston Orchestral concerts, and as critical editor of the
Music and Musicians."
Cyclopaedia of
"
His influence was chiefly exerted
after
he
became the critic of the Transcript. It was much later than the time of Messrs. Woolf and Apthorp He was born in that Mr. Philip Hale began his career in Boston. Norwich, Vermont, March
and graduated from Yale
He was
early occupied
music and with
Church
in
1854,
1876.
both with
literature,
had played the organ tarian
5,
in
for
he
the Uni-
Northampton,
at
Massachusetts, before entering college,
and
the
college
in
Yale he edited one His
papers.
studies, however,
were
in
of
chief
the law,
New
and he was admitted
to
York bar
His musical
in
1880.
the
education w^ent on with considerable vioor O I'u;.
90.
— William
period, J.
in
throusrh O
this
formative
and subsequently he went
Henderson.
abroad, studying with Rheinberger,
Guilmant, and other French and
Boston
all
1889 as organist
at
German Dr.
teachers.
De Normandie's
He came
to
(Unitarian)
He soon became the critic successively and successfully of the Home Journal of Boston, the Boston Post, and the Boston Journal, finally joining the Boston Herald. He has been church
in
Roxbury.
Musical Record and the Musical World, and has written articles in many musical magazines, notably in the Musical Courier, of which periodical he was for a long time the Boston corthe editor of the
respondent.
and readable.
His musical writings have always been bright, His chief work
witty,
book form has been the editing, in collaboration with the present writer, of a set of three volumes on " Famous Composers " (new series), which deal largely with the most in
;
MUSICAL CRITICISM AND AUTHORSHIP
325
modern developments in music. This work had been preceded by three volumes upon the older standard composers, edited by John K. Paine and Theodore Thomas, the six books forming one of the largest series in American musical literature. [Louis C. Elson, the author of this " History of American Music," also belongs with those who have worked for the advancement of American music. He was born in Boston, April 17, 1848. August
Hamann was
In voice he received instruction
his teacher of piano.
from August Kreissmann, the friend
of
Franz and one
Composition was afterward taken up
singers of Lieder of his time.
In 1880 Mr. Elson entered
with Carl Gloggner-Castelli, of Leipsic. the
New England
The department
of the best
Conservatory as teacher of voice and lecturer.
of musical theory
was assigned
to him, and, after the
death of Stephen A. Emery, he became the head of this department in
His lectureship was devoted
the institution.
the orchestra and
its
to explanations of
instruments and to a course upon the history
His journalistic work began on the Vox Humana, a paper
of music.
In 1880 this was merged in the
devoted chiefly to organ music.
Ahisical Herald, of which Mr. Elson became editor.
At about
the
same time he was appointed musical editor of the Boston Courier, and when abroad was an occasional correspondent of the New York Tribune, the New York Evening Post, the Boston Transcript, and other papers. In 1888 he became musical editor of the Boston Advertiser, a position which he still holds. Mr. Elson has directed large choruses in Trinity Church, Boston, in the
New England
took place
in
Boston
Conservatory, and in a musical festival which in 1886, in
which music was given representing
composers from mediaeval times down
much
composition he has written lished a of songs, of
Music
volume
of "
Songs
;
lated in the
a
"
History of
German
press
;
present epoch.
In
the small forms and has pub-
for Children," three operettas, a
and a few piano sketches. "
in
to the
His books are
"
The
number
Curiosities
German Song," which was partially trans" The Realm of Music," a series of essays
The Theory of Music," a technical work " Great Composers " " Famous Composers and " Our National Music and its Sources " " European their Works," new series Reminiscences," a book " Shakespeare in Music." of travel As lecturer on music he "
;
;
;
;
THE HISTORY OF AMERICAN MUSIC
326
has been twice called to the Lowell
prominent
America), and has lectured
in
Brown, Vassar, University the Drexel Institute,
country.
— Editor.]
of
Course (the most
Institute
repeatedly at
Cornell,
Pennsylvania, the Brooklyn Institute,
and many other educational
institutions of the
In speaking of the growth of musical literature in the Eastern the
states,
name
Howard Malcom Ticknor must
of
tioned.
A
Harvard graduate,
Monthly
in
the days
when Lowell brought
highest standard. United States consul
and instructor
Harvard and Brown
in
editor
assistant
in
also be
the
of
that
Atlajitic
magazine
to its
many
years,
for
Italy
men-
Mr. Ticknor
universities,
brought to musical journalism a refinement and suavity which
had noticeably lacked
the
after
influence
Dwight had spent
of
Mr. Ticknor's writings have been chiefly
itself.
it
in
Boston
the
Advertiser, the Boston Globe, the Boston Herald, and the Boston
Journal ; he has written no musical works or books. In the Eastern states
advance
in orchestral taste
gramme
books.
a supplementary factor
in
the
general
has been the writing of analytical pro-
These musical essays have been found in evidence Mr. George H. Wilson was the at almost every great concert. pioneer in this work in Boston, and Messrs. Apthorp and Hale, in Boston, Mr. Philip
and Spanuth,
in
H. Goepp,
New
in
Philadelphia,
Messrs.
Krehbiel
York, and others, have done great educa-
tional service in this direction.
Mr. Goepp has,
in addition, written
Symphonies and their Meaning " (in two volumes), which is worthy of honorable mention among American musical Mr. Goepp was born in New York, June 23, 1864, and books. studied in Germany. He graduated from Harvard in 1884, and a
work
entitled
received
He
"
a degree from the
University of
Pennsylvania in
1888.
has been a composer as well as an author, yet his chief influence
upon American
art
has been exerted from the literary
side.
Philadelphia has been less active in the field of criticism than
New
York, Chicago, or Boston, yet two names
as prominent in her musico-literary annals. zell
has written
many
may
be mentioned
Mr. Willard
J.
excellent educational essays and has
Balt-
made
an astonishing success with a semi-pedagogical musical journal, the
Etude.
Mr.
Baltzell,
like
many
of
the
—
American musical
MUSICAL CRITICISM AND AUTHORSHIP
327
composed much music, even in the larger forms v/ith Mr. Arthur L. Manchester has done orchestral accompaniment. similar work on a similar journal, the Musician, and has been closely identified with teachers' associations and musical societies writers, has
for
many
years.
Among
the brightest of the younger writers on musical topics
in America, yet not is
permanently attached
He
Rupert Hughes.
caster,
is
Educated
in
the
public
of the great dailies,
He
has been somewhat of a
have been many and valuable.
his gatherings
yet
any
a Westerner, having been born in Lan-
Missouri, January 31, 1872.
rolling stone,
to
schools
Keokuk, Iowa, he afterward
at
He
graduated from the Western Reserve University. assistant
editor
of
the
Criterion,
large publishing house sent
He
has written
him
in
to
fiction, verse, essays,
New
London
then became
York, after which a
do research work.
to
and criticisms
for
such leading
magazines as Scribners, the Cosmopolitan, and the Century, but his claim to record here lies in his bright musical reviews in the
Criterion, his musical
Godeys, his popular
sketches in
"
Musical
Love Affairs of the Great Composers," and his " Contemporary American Composers," which, with the exception of Mathews's " Hundred Years of Music in America," was the first book upon this topic. Mr. Hughes is an indefatigable student of facts, yet one of the liveliest and wittiest of American musical "
Guide," his
authors. Li the
Western
states musical
rather slow growth. rule, to find
Even now
most progress
who
Mr. George
is
has been a plant of
the exception, rather than the
an intelligent analytical description
the columns of the press in
writers
it
literature
in this
Western
cities.
of
musical events
in
Chicago has made the
important matter, and has had
at least four
are comparable to the best of the Eastern musical critics. P.
Upton
(Fig. 91) holds such rank, not because of his
being a composer or a profound musician, but because he was a pathfinder in the West, and, like
D wight
in Boston,
ard of good taste and culture in music at a time influence was peculiarly valuable. 25,
1834,
came
He was
born
1855,
when such an
in Boston,
and graduated from Brown University
a journalist in Chicago in
upheld a stand-
in 1854.
and was on the
October
He
be-
staff of the
THE HISTORY OF AMERICAN MUSIC
328
Chicago Journal for
At
six years.
the end of that period he joined
the forces of the Chicago Tribune and has been actively engaged
He
there ever since.
wrote the
musical criticisms ever pub-
first
lished in the western metropolis, possibly the
that were ever written in
To
any part
illustrate the state of
we quote from
advent,
of the
West.
Chicago's music before Mr. Upton's
the Chicago Tribune, which thus
the musical progress of that city from "
any importance
of
first
Music antedates the drama
its earliest
stages
:
in
No programme
Chicago.
served, and
was that
Prior to
music
in the city
fiddle,
and the Congregational Church singing
which was used
of the Indian's
common by
in
first
church
concert has been pre-
of the
the singers are gone.
of
all
was
in this city, for the first concert
given in 1835, in the First Presbyterian Church, the built
—
sums up
1835 the only
tom-toms, old Beaubien's in a
frame tenement,
Presbyterians, Baptists, and Metho-
dists, the
Rev. Messrs. Porter, Whitehead, and Freeman being the
ministers,
and Sergeant
Burtis, of the fort, leading the singing.
./'Music was not well grounded in Chicago until 1850.
In that
year Mr. Dyrenfurth presented an orchestra composed almost exclu-
German revolutionists whom he had employed upon his but who proved to be better musicians than farm laborers.
sively of
farm,
This was the
first
Chicago heard
orchestra Chicago ever heard.
its first
'
was only half an hour Sonnambula,' and at the close of the
was dismissed because the theatre was on three spasmodic
efforts
to
establish
called
the
concert years of
Teresa Parodi, Catherine Hayes,
Adelina Patti
One would
in
in length. first
fire.
The
its first
The opera
act the audience
There were two or
opera, but
1859 that Maurice Strakosch succeeded. be
same year
opera at Rice's Theatre, or a part of
opera, for the season
was
In that
it
was not
next three years
Anna Bishop in 185 1, and Anna Thillon in 1852, and
1853, were the concert pioneers."
wish to add to the above condensed account a word
Moravia, March
5,
1827, he
came
founded the Milwaukee Musikverein
to
in 185
America 1.
in
eminent conductor.
Born
1849.
He
Chicago had founded
a Philharmonic Society in 1852, and in i860 Balatka first
may
Chicago.
about the work of Hans Balatka in Chicago's early days. in
until
became
its
In developing chorus music in the West,
MUSICAL CRITICISM AND AUTHORSHIP Chicago
particularly in
He
importance.
of
and
lived
329
Milwaukee, Balatka was a pioneer
to
Chicago advance
see
beyond
far
the primitive beginnings described above, for he died there April 17,
1899.
At
time Mr. George P. Upton was most active in diffus-
this
ing not only a musical taste in Chicago, but also in inspiring musi-
He was
cal practice.
Club fire
1872,
chorus.
and now a flourishing mixed
may
It
music
of
in
suggest the recent growth
West when
the
that Mr. Upton,
is
stated
heard the
living,
still
it
orchestra that ever played, and the
opera and Chicago.
When
first first
ever given
oratorio
first
this fact is
may show more
it
Apollo Musical
president of the
first
Chicago, founded as a male chorus directly after the great
of
of
the
in
remembered,
vividly the herculean
Thomas, who,
task of one man, Theodore
almost alone, has built a firm foundation for the best
led
music
in that city,
and has
Chicago to a foremost rank among
our western centres,
— George
FiG. 91.
P.
Upton.
Upton did his work for good music at a time when the poorest was in vogue, and he has Mr.
to
He
see,
triumph as
not a complete
but incredible advances.
has written some small but useful volumes of musical essays
under the following
titles:
The Standard
Oratorios,"
ard Symphonies," and lated Nohl's lives of
volume on the literary essays
"
in
"
Music"
The Standard
The Standard
(written in 1880,
"
Operas,"
into being),
The Stand-
He
Cantatas."
Haydn, Wagner, and
light operas,
and
"Woman
women composers had come
before America's band of "
yet,
lived
has trans-
Liszt, has published a
and has added a host
of
more purely
criticisms.
Another prominent figure in western musical writing is William Smythe Babcock Mathews (Fig. 92), who was born in Loudon, New Hampshire,
May
8,
1837.
Mr. Mathews studied music at
native town, but afterward facilities.
He was
came
to
first in his
Boston for better educational
soon appointed adjunct professor
in
the
Wes-
THE HISTORY OF AMERICAN MUSIC
330
leyan Female College at Macon, Georgia, and was one of the regular
Music under the pseudonym of "Der Freischijtz." His most active work in music began after he Here his influence extended in many settled in Chicago, in 1867. contributors to Dvvight's Journal of
He was
directions.
pianist
the organist in one of the leading churches, a
and a teacher
of
high repute, and a writer of both reviews
and books of training and knowledge. facile
and most rapidly done,
His writing, although very
and
instructive,
is reliable,
interesting.
His musical criticisms are among the best that the West has ever
They have appeared
had.
Tribune.
Besides
this
in
the Chicago Herald, Record, and
he established
magazine
a
of
excellent
character, entitled Music, of
which he
most valuable contributor.
Mr. Mathews's musical books have been
of the
most
of Music,"
many
be seen that America
musical books.
other nation except Germany.
Popular History
Understand Music,"
other volumes. well supplied with pedagogical
and some
Musical readers form a very large
American musical journals unknown elsewhere. Mr. Mathews has appealed
class in our country,
to
"How to
"
has more of this kind of literature than any
It
reach a circulation
is
not only the editor but the
has written a
two very bright volumes on
a primer of musical forms, and It will
He
practical character.
is
of the
He
vast multitudes through this musical press.
is
constantly
writing essays and articles in such musical journals as the Etude
and the Musician,
He
in addition
to the
work
in his
own magazine.
has probably been as great an influence in the moulding of
West as Mr. Dwight has been in the East, and he has always been much the better musician. One must add the name of Emil Liebling to the list of formers
musical taste in the
American taste by means of essays and musical articles. His name would lead Western musical literature but for the fact that
of
his influence has of the
been chiefly exerted
most prominent teachers
in the class
in the country,
room.
and
He
is
one
his application
work prevents him from being as active in the literary field as his contemporaries. Yet his articles on musical topics are always the well-considered work of a thorough musician, and he has an enviable vein of humor and piquancy as well. He is an Austrian, to this
having been born
in
Pless,
Silesia,
April
12,
1851.
He
has been
MUSICAL CRITICISM AND AUTHORSHIP Chicago since 1872, when he
came
331
Western metropohs, and he has also composed some brilHant piano and vocal music. The fourth on the list of Chicago critics was Frederic Grant Gleason, whose chief work has been done in composition, and who active in
first
to the
has been spoken of elsewhere in this volume. Cincinnati has never been as well equipped with musical writers
and
as Chicago,
musical criticisms have been too largely repor-
its
torial until recent days.
however, possessed one notable ex-
It has,
Van
who was born Although Mr. Van Cleve
ception to this in the person of John Smith
Kentucky, October
in Maysville, is
totally blind (having
30, 1851.
Cleve,
been so from his ninth
year), this
handicap
has not prevented him from being very active in almost every depart-
ment
of practical
cal studies
music authorship and lectureship.
were made
in
Boston.
For
a time he
His work
between music and theology.
became musical
His chief musi-
was undecided
Cincinnati began in
in
CommerHe was subsequently employed upon cial under Murat Halstead. the Nezvs Journal of the same city, and did much work in CinHis strong literary tendencies made him not cinnati in teaching. only a good writer, but an excellent lecturer on musical topics. The lecture seems to be a peculiarly American institution. While in Europe it is possible, occasionally, to hear a good series of lectures on musical history in some college or conservatory, America has a constant running fire of public lectures and lecturers on musical topics. Possibly this form of teaching owes its vogue, if not its inception, to the great number of women's clubs which are 1879, and he soon
found
in the
woman
United States.
critic of
One phase
the Cincinnati
the emancipation of
of
has been the establishment of lecture courses and the read-
ing of "papers," and a goodly proportion of these papers or lectures is
devoted to music.
Van
Mr.
Cleve
left
Cincinnati in 1897 and removed to Chicago,
where he was as active as
in the
he was the chief musical writer
He now
several.-^
lecturer ^
Mr.
one of
and
Van
;
in
former
city.
But, in Cincinnati
Chicago he was but one among
resides in Troy, Ohio,
and
is
still
heard, both as
writer, in Cincinnati.
Cleve
is
his lectures are
also a
soon
composer and a poet, and a volume of
to appear.
his
poems and another
THE HISTORY OF AMERICAN MUSIC
332
Cleveland, although not exactly a musical centre thirty-five years ago, left
had a musical journal even then, and its editor was a writer who Karl Merz was his mark on the musical culture of that city.
born
at
He came
to
in Lancaster, Pennsylvania,
in
Bensheim, Germany, September
America
in
1854,
and taught music
Oxford, Ohio, and in Wooster, Ohio.
Musical World
editor of the
lo,
1836.
In 1873 he was appointed
of Cleveland.
His essays have been
volume entitled " Music and Culture," and show a well-balanced mind and indicate a thoughtful analyst. He died in collected in a
Wooster, Ohio, January
30, 1890.
In California one finds musical critics and authors forming that
public taste which culminates in classical concerts and sometimes
even
in native
who
In Los Angeles there resides a musical
composers.
American musical books. Mr. W. Francis Gates (born in Zanesville, Ohio, March 18, 1865) has written and compiled several volumes of musical essays, and has also been very active in musical journalism. In San Francisco, from 1893 to 1895, there was an excellent critic upon The Examiner, Edgar S. Kelley, of whom we have spoken in a preceding reviewer
has
added
also
to
chapter.
Many
other writers
may be named who have added
can musical bibliography without
Among
reviewers.
these
is
having been
to
critics or
Edward Dickinson, A.M.,
Amerimusical
professor of
musical history at the Oberlin (Ohio) Conservatory of Music, whose "
History
of
Music
in the
Western Church
" is
tribution to the sacred side of musical study, chief
work on
most scholarly con-
and
is
probably the
America has yet produced. Theodore York, was the first musician to thoroughly sift North America, and his work (published in
this topic that
Baker, Ph.D., of
New
the Indian music of
Germany) on
a
this topic has
been quoted
freely in this
He
volume.
has also compiled a biographical dictionary of musicians, which
is
the
work on this subject in America. Arthur Elson, of Boston, has added a history of opera, a guide to the orchestra, and a volume on women composers, to the standard list of American musical books. John Comfort Fillmore, already quoted in connection with Indian music, has published a practical history of pianoforte music and some lessons on general musical history. chief
FIG,
92.
— W.
S.
B.
MATHEWS.
s
MUSICAL CRITICISM AND AUTHORSHIP
Women
335
among our
have appeared not too frequently
musical
book by a woman writer on music in this Fay's " Music Study in Germany," which has various tongues and republished in Europe.
authors, the most popular
Amy
country being
been translated into It
is
by the feminine
a record of the fetich-worship accorded
stu-
dents to Liszt, not an important historical matter, but so naively
and charmingly
told that
it
holds the attention from
to last.
first
Making due allowances for the character of the topic, we do not know of any woman among the musical authors who has won a more popular success than Miss Fay. She has also written a pedagogic work, an exposition of the Deppe method of piano playing. Miss Helen M. Sparmann has written an essay entitled "An Attempt
an Analysis
at
short, pamphlet,
— a very commendable, though
and Mrs. Helen D. Tretbar has given forth some
useful analytical works
One
of Music,"
and many musical
translations.
American writers on music, E. Irenaeus Stevenson, was drawn away from his subject by other pursuits. He made an excellent reputation as an essayist on musical topics, by articles in the New York Independent and in Harper Weekly, and had written some musical novels, and also a collection most promising
of the
of musical sketches,
ture, for art,
to his
to live.
His gain was a
to
American musical literaupon the modern phases of
loss to
he was an intelligent writer
at the present time.
sketch of American musical authors would be very faulty
if
did not mention the learning and wide influence of Dr. Frederic
Louis
As will many other
be seen directly. Dr. Ritter's influence was
Ritter.
exerted in
fields besides
born in Strassburg, June in
he received an addition
and an influence much needed
Any it
in 1899,
name (becoming Mr. Prime-Stevenson), and went
fortune and his
Vienna
when,
of the
Germany.
He came
22, 1834,
musical authorship.
and studied both
to this country in 1856
and
in
He was
France and
settled in Cin-
That city owes a great debt to him for what Mr. George P. Upton was to Chicago in its musical childhood, that Dr. Ritter became to Cincinnati in the early days. The latter city, to be sure, was an older one than Chicago, and had the advantage of a German element in its population which founded the Maennerchor, cinnati.
the embodiment of
;
all
that
is
genial in music, even in the earliest
THE HISTORY OF AMERICAN MUSIC
336
days of the settlement; but Dr. Ritter built a classical edifice upon
—
harmonic,
orchestral,
— were
the
however, stay long enough
not,
same
the
in
result
line
of
in
the Phil-
He
labors.
his
did
New
York, where he con-
The Sacred
conductor, while, as leader of the
its
Arion, he had control of one of the best
Both
of
public musical service.
Harmonic Society made him the world.
— and
choral,
the city to develop what he so
in
In 1861 he settled in
ably inaugurated.
tinued
—
and the Cecilia Society,
this foundation,
Cincinnati and in
German male choruses in New York he introduced
new and important works to the American public, and his name may be mentioned in the same breath with those of Theodore Thomas and Dr. Leopold Damrosch for the number
a large
of
pioneer work which he accomplished.
far-reaching
He
arranged
and conducted the first really great musical festival held in New York, in 1867, and at about the same time was appointed professor of
up
music
to his death,
University of of
Vassar College, a position which he held almost
Antwerp, July 22, 1891. The 1874, conferred upon him the degree
which took place
New
York, in
in
Mus. Doc. It
so
at
is
difficult
much, and
in
to
so
form
man who
a just estimate of a
many
did
different directions, as
achieves
Dr. Ritter.
In musical conductorship he had superiors, and, although his peda-
gogic influence at Vassar was of the best, other teachers in similar fields
literature
deserve equal recognition
;
but in the domain of musical
he was as important a figure as any
in
America, after
Dwight and Thayer. He was constantly writing musical essays, not only in the American journals, but in France and in Germany, and was instrumental in causing Europe to become familiar with the musical strivings of this country, which before his time
had been deemed semi-barbaric.
His most important work was a
history of music, which was for a long time the best brief
on
this subject in the
on music
in
English language.
England, which
is still
Another volume on music ^
Or
rather two volumes, for at
in
first
it
He
also wrote a
^
volume
regarded as an authority abroad.
America had was
student's history of music, in a single volume. " Geschichte der Musik " is in German.
book
It
in this is
in
shape.
less
It
is
English very
of success,
for
now published as a much what Brendel's
— MUSICAL CRITICISM AND AUTHORSHIP Dr. Ritter approached his subject with the
Billings,
native
first
his false progressions
;
little
337
sympathy.
composer, shocked
this
William with
classicist
our national music did not appeal to him
American composers he had not a word to say. The work is mainly devoted to opera and to orchestral societies in New York, but is most thorough in these fields.
deeply, and of the
Dr. Ritter was a profound musician, and composed
many works
These were, however, the compositions of a German in America, rather than of a native composer or of a man influenced by American surroundings. Massenet, the French composer, once spoke enthusiastically to the present writer regarding the inspiration that ought to come to the American comeven
in the
poser.
symphonic forms.
Were
"
glories of
I
in
America," said
he, "
I
should be exalted by the
your scenery, your Niagara, your prairies;
should be
I
Western and Southern life I should be intoxicated by the beauty of your American women national surroundings must always inspire national music " Dr. Ritter, however much he labored for us, worked from without, not from within he was among us, but not of us. He could not realize what a group of good American composers was growing up around him. In spite of inspired by the
;
;
!
;
these limitations his will always be a respected
name
in our musical
annals.
The work 23,
1822, and
of
Richard Grant White (born
died there April
8,
1885),
in
somethino; of a contrast to that of the writers Ritter, Finck,
tioned.
musical
literary field
Dwight, was an essayist who had added music
topics.
But White had none
criticism,
of the gentleness
is
men-
far
of the others,
White,
;
May
York,
we have thus
Huneker, Mathews, and many
were musicians who had entered the S.
New
in
to
like
his
John
literary
and suavity
of the
elder writer; he was keen and bitter in controversy, pronounced in opinions, relentless in polemics. vitriol.
turning
He
wrote some of his diatribes with
His writhing victims made an epigram out "
Richard Grant White" into
"
mind
that
saw both sides
was but a single view upon any own.
of
any question
topic,
name,
Richard Can't Write,"
he could write far better than he could judge. judicial
of his
— but
His was not the ;
with him there
musical or otherwise,
— his
THE HISTORY OF AMERICAN MUSIC
338
White's versatility
Shakespearian
is
commentator, a brilHant
ing magazine writers, a chief clerk
in
dangerous, for
one
field.
music and
the it
Had White
light
literary
That
his reviewing
musical progress in
that
greater
it is
field.
of the leadcritic,
and
Such versatility is man from becoming a leader in any
given
of its literature,
one
philologist, a musical
learned
prevents a
chief
journalist,
New York Custom House
the chief author in this
said.
suggested by the fact that he was a great
!
attention
to
the
study of
probable that he would have been
As
entered
it
is,
he
musical
may
be considered the
criticism
in
America.
moulded any national taste, or influenced our any permanent manner, cannot be truthfully
PLATE
JOHN
K.
XII
PAINE
I
IIX
3H1A^
HTAJ-^ .M
MHOU
CHAPTER
XVII
THE MUSICAL EDUCATION OF THE PRESENT
While America endowed school
does not
possess,
and does not
require,
music under government protection, such
of
the Conservatoire at Paris or some of the conservatories in
gium, or Germany,
yet,
an as
Italy, Bel-
through the philanthropy and the love
of art
have been founded that have
of private individuals, large schools
movement inaugurated in the Boston Academy Music and by Lowell Mason over sixty years ago. There is
nobly carried on the of
possibly no country on the are so widely diffused
globe where the rudiments of music
among
city gives its public school children
and
at
the ability to read
least
Every
the masses as in America.
some knowledge
notation
of part-singing
conservatories in each
;
large city offer not only well-equipped courses in every branch of
music, but free scholarships to pupils of pronounced talent. this
musical activity something yet remains to be desired.
in recent years that the large conservatories
With It is
all
only
have become more than
piano and vocal training-schools, that operatic performances have
been established and orchestras founded within their
walls.
Before the conservatories began, before even the Boston Musical
Academy and of,
there
the Philadelphia Musical
was a thorough education
vian settlements in Pennsylvania.
even
in
Fund Society were dreamed
music dispensed
at the
Mora-
In Bethlehem and at Ephrata,
in the eighteenth century, there
was constant study, and Phila-
delphia was at times glad to borrow musicians from the Moravians for its early festivals. effect
The Moravian music undoubtedly had an
even beyond the Alleghanies, and
influenced the
German
first
New England
school can in
For a record
itself
it
composers
is ;
not impossible that
it
but this Pennsylvania-
scarcely be classed as
American music.
of recent discoveries in this field the reader is referred 339
THE HISTORY OF AMERICAN MUSIC
340
ter,
"Music
Ephrata Cloister" (LancasThe Moravians undoubtedly had the first regular music
to Dr. Julius F. Sachse's
1903).
of the
schools of this country.
Three large conservatories at Boston, Cincinnati,
Conservatory
due
New England
Of the three the
and Chicago.
— those
Boston has a curriculum most nearly approaching
of
European
that of the great largely
America,
exist at present in
and
schools,
W.
Mr. George
to the efforts of
man who,
a
93),
present
its
con-
of this
due to Dr. Eben Tourjee
servatory was
great
Chadwick,
But the founding
director.
(Fig.
broad course has been
this
musician
without
himself, wielded
being a
a
great
influence on musical education in America.
Dr.
Tourjee
degree
(the
Mus.
of
Doc.
came from Wesleyan University) was born in Warwick, Rhode Island, June i, 1834, and died
in
Boston
taught in music, his the art
— Dr.
Eben Tourjee.
self-
connection with
was upon the commercial
at Fall River, Fig. 93.
first
seventeen he was clerk
at
Largely
in 1890.
in a
Massachusetts
side, for
music store
subsequently
;
he became organist and choir director at
Newport, Rhode Island. ence of the East Greenwich Musical Institute
At
studied the conservatory system there.
During the existhe visited Europe and
this
time he also took
lessons from Haupt, in Berlin, and from other prominent teachers.
On
his return to
dence,
Rhode
America he established
Island.
As
a conservatory in Provi-
early as 1859 he obtained a charter for a
musical institute in connection with the academy at East Greenwich,
Rhode
Island.
had been too
The Boston Academy
idealistic
of Music, already described,
and had attempted
far too
much
;
Dr. Tourjee
upon a practical basis in America. In 1867 he founded the New England Conservatory of Music. He was a superb organizer, and soon saw that America needed some modifications of the European system, was the
first
to establish the class system of musical training
especially in
the matter of
coming from
a distance to a strange city.
careful
protection
of
female students
THE MUSICAL EDUCATION OF THE PRESENT
He
incorporated the
the institution had
Conservatory in 1870, and
quarters in Music Hall Building for about a
its
After
dozen years.
New England
following out the idea suggested above,
this, in
he secured the great St James Hotel Building altered
home
for students
institution,
long
from distant
among whom may
president, the
its
hall for its recitals
difficulties
it
Many
cities.
its
Boston, and
in
both a conservatory and a persons
helped
the
be mentioned the Hon. Rufus Frost,
Hon. Richard H. Dana,
the organizer of a fund for
gave a
making
to suit his needs,
it
341
also a president
and
perpetuation, and Jacob Sleeper,
who
There were many pecuniary
and concerts.
attending the school in
its
enlarged quarters, but Dr.
Tourjee bravely fought on and steered successfully through troubled waters, until his health
began to
and
tion incapacitated him,
An
fail.
attack of nervous prostra-
for a year before
his death his
keen
was clouded.
intellect
Mr. Carl Faelten, who had been one of the most prominent piano teachers of the institution,
few years resigned
in
favor of
had come
that the time
A
perfect for
servatory
George W. Chadwick, who found
He began
for yet further innovations.
his
in
purpose of any
its
for teaching;
took the helm, but after a
some degree the home and the connew building (Fig. 53) was erected, probably the most
regime by separating servatory.
now
in
America, which
new dormitories were
itself,
yet under
its
is
used exclusively
established, apart from the con-
direction
and supervision
and two
;
halls
were built for lectures and concerts.
The new
conservatory found more powerful
ever before, Mr. Charles P. Gardiner becoming
Eben D.
its
protectors
than
president.
Mr.
Jordan, a wealthy merchant of Boston, was one of the chief
The
of its benefactors.
great organ of the institution
his gift,
is
and
the large hall of the conservatory, one of the finest music halls in
Boston, is
is
named
at present
country.
in his honor.
of
in
teachers of the past
contains
many
conservatory
distinguished names, which have
their various fields of work, yet a
may
few
of the
be here mentioned.
Mr. Carl Faelten was born
He
of the
probably the most severe of any musical school in this
Its faculty
been spoken
The curriculum
in
Thuringia,
December
21,
1846,
derived the greater part of his musical proficiency from Raff,
THE HISTORY OF AMERICAN MUSIC
34^
whom
with
he was intimately associated
His earher
tory.
studies,
Weimar and
in
the F'rankfort Conserva-
however, had been under Montag and
His work was interrupted by Franco-Prussian War, wlien military law compelled a term of
Schoch, the
in
service, but
Frankfort.
through the influence
some
of
officers
who
accidentally
became acquainted with his musical abilities, he was spared severe tasks and largely employed in clerical duties. When his term of service had ended, he again began his musical studies, and carried them on so successfully that he was soon able to make several concert appearances in Germany. He was one of the piano teachers in
Conservatory, and
Raff's
from 1882 he was active as a teacher
Peabody
in the
Institute in Baltimore.
In 1885 he became one of the faculty
New
the
of
He
that
left
found
England Conservatory.
a
institution
large
own, which
still
piano
of
He was
October
4,
of
Emery
to
his
Boston.
(Fig.
94)
the most popular of the
harmony teachers tory.
school
flourishes in
Mr. Stephen A.
was one
1897
in
the
in
born
in
1841, his
Conserva-
Paris,
Maine,
father being a
distinguished lawyer and judge of that Fig. 94.
— Stephen
After preliminary musical study
state. A.
Emery.
m
j a/t Portland, Mr.
-n
•
4.1
tr Emery went
4.
i.
t
•
to Leip-
He where he studied with Richter, Hauptmann, and others. was a teacher of harmony at the New England Conservatory from its very beginning, 1867, until his death, which took place in Boston,
sic,
April
15,
1891.
Mr. Emery's compositions, almost
smaller forms, although
full
of grace
all
of
them
and delicacy, are not
in the
of great
American music, but in his longcontinued pedagogic service he did much for the advancement of the art, and hundreds of his pupils are now working successfully in importance
the musical this
in the
field.
development
Many
volume derived
of
of the
important composers spoken of in
their early inspiration
Stephen Albert Emery.
from the teaching
of
THE MUSICAL EDUCATION OF THE PRESENT Another teacher in
studied with Mr.
attest
important works
among
Mme. Madeleine
Frank A. Porter and Charles
as
the earnestness of Mr. Turner's work.
Emery, he wrote chiefly are
walls,
its
C. D, Parker, and also with
J.
Such musicians
Schiller.
Dennee
St.
was
was Alfred Dudley Turner, Albans, Vermont, August 24, 1854, and
exerted ahnost entirely within
who was born
whose influence
Conservatory,
the
at
343
even
the smaller forms, and
in
in
His octave
these.
F.
Like Mr.
no very
left
studies,
however,
made by Americans to 1888, when only thirty-three
the most valued contributions
He
musical pedagogy.
died
May
7,
years of age.
Emery and Turner, their unostentatious work, their pedagogic success, may serve to point a moral. European teachers of greater celebrity did not always achieve as much practical result The names
of
America as these two men. It was simply the comprehension of the American student, the knowledge of how to reach his heart, how to spur on his ambition, that made their work remarkable. The really successful teacher must have, besides the technique of his art, a full in
comprehension
the character of his pupils
of
obvious advantage to the American teacher
There were other important teachers
Lyman W. Wheeler and in the vocal
his brother
in
;
and
an
this gives
America.
in the
Conservatory.
Mr.
Harry Wheeler were prominent
work, Mr. John O'Neill graduated Lillian Norton (Mme.
Nordica) and other prominent pupils, Mr. Otto Bendix taught piano oroins: to there before es o
servatory,
Carlyle
San Francisco and
Petersilea,
establishinoo another con-
recently deceased, was of the piano-
group, George E. Whiting was for a long time the chief organ teacher, Carl Zerrahn
came from and a
was
its
teacher of conducting.
Italy to join the forces, as did also
niusical brotherhood, "
The
servatory by Ossian E. Mills, and
Sinfonia,"
Martin Roeder
Signor Augusto
was founded
now has branches
in
Rotoli.,
in the
many
con-
cities of
the United States.
A
few additional words regarding Dr. Tourjee
before leaving the conservatory which he founded. active lieutenant
in
the
He was
pertinent
He was
a
most
two peace jubilees given by Gilmore
Boston, and practically constructed the festivals.
may be
immense choruses
in
of these
a strong worker in the cause of music in the
THE HISTORY OF AMERICAN MUSIC
344
public schools, and he
American tips and had
religious
in
manner
a
was the originator of the " Praise Service " life. He was also a diplomat to the fingerof getting
almost everybody to work out his
maximum of work with the minimum he was the man for his place and time, just
wishes, to educe the
of friction
in short,
as Billings
had been
Mason
for the
for
had no
in the
of
American music and Lowell
advancing stages.
its
During the it
rudimentary stage
;
early days of the
rival in its general
domain
New England
curriculum,
Conservatory, while
had a keen competitor
it
The Boston Conservatory
of violin music.
of
Music
had been founded by Julius Eichberg, and was, for a long time, the
With
chief violin school of America.
much
however,
of its glory departed,
subsequent director,
The
be chronicled.
the violin music of
Herman
the death of Mr. Eichberg,
although the good work of
Chelius, in the piano department,
influence of Mr. Julius Eichberg (Fig. 95)
America
is
incontestable.
He
was born
is
its
to
upon
in Diis-
June 23, 1824, studied with Rietz, and in his childhood played before Mendelssohn, who put on record his high opinion of the perseldorf,
formance of the juvenile prodigy.
De
Beriot and acquaintance with
Additional study with Fetis and
Schumann made
the youth of this
memorable one. Eichberg came to New York, in search of health, in 1857, but soon settled in Boston, where he began his career in 1859. His first work in that city was as conductor of the little orchestra at the Boston Museum. There he contributed somewhat to the American repertoire, for he wrote a charming opera, " The Doctor of Alcantara," which was the best light opera that had up to that time been written
violinist a
in this country. ful
He
subsequently composed other operas,
and singable, but none
of
work, which was produced "'
The Doctor
of
Alcantara
them in
"
English musical
1862 (Fig.
96).
In spite of
has become obsolete
critic (resident
grace-
of the excellence of the first-named
American work, since the
called an
all
in
libretto
;
nor can
was by
its it
charm
be fairly
B. E. Woolf, the
Boston), and the music was, of
by a German.
Yet Mr. Eichberg became enthusiastically American, as may be seen by his national hymn, " To Thee, Oh Country " of which the words were written by his daughter, a
course,
!
lady of
much
literary ability.
He
wrote some chamber-music and
THE MUSICAL EDUCATION OF THE PRESENT became
He
for a time supervisor of
died in Boston, January
The West
also has
had
music
345
in the public schools of Boston.
13, 1898.
its
musical enthusiasts
who were ready
to
play the part of Maecenas in endowing educational institutions for the development of
the
art.
George Ward Nichols and Reuben
Springer were the chief founders of the Cincinnati College of Music (Fig. loi), the leading musical
institution
for
many
meeting
of
1
West
The
years.
first
of the stockholders
was held on
of this college
the
the
6th
August, 1878,
of
and Theodore Thomas was
become
invited
to
of the
new
Mr.
enterprise.
endowment
gave
Springer
director
upon endowment, and
the
erection of the present large
buildings of the college was
made
possible
through Mr.
chiefly
munificence.
his
Nichols,
as
the
president,
saw the
outgrow
buildinor
building
until
college
after present
its
equipment
large
first
was Fig. 95.
achieved.
After
the
— Julius
Eichberg.
de-
cease of Colonel Nichols, Mr. Peter Rudolph Neff became president.
Mr. Thomas, great as his musical services, sible.
much
There of
musicians
is
is
his musicianship,
Thomas had
have been
probably no position in music w^iich demands so of a
number
of
prominent
are not definitely graded, as in an orchestra.
his high artistic ideal,
which did not
as
was not the most effective musical director pos-
diplomacy as the directorship
who
and vast
and
exist in his vocabulary.
"
compromise
The
result
"
Mr.
was a word
was a
series of
complications for wdiich no one person was responsible, and in two years Mr.
Thomas
left
the post and returned to
New
York.
The
S
THE HISTORY OF AMERICAN MUSIC
346 college
went on under other direction
whom we
102) (of
have already spoken) was
when he resigned
until 1903,
and
for Cincinnati
the post.
for the entire
musical festivals of the
city,
the operatic advance, and
it
It
musical director
has done great work
It
West.
its
(Fig.
has been active in the
has patronized opera and assisted
has gathered together a band of excel-
it
who have been
lent musicians
Van der Stucken
Mr.
;
like the leaven in the
meal through-
1
fc
"
I1^6. OJ
\'
.-
I'
^
"^
T
N
^
1
r
J
-N—IT
Z21 jfi^
r
ZTf
fr:S-
V i.> '
—
n^
4^
y. «'
"
.'
^ f
r
ij
^
^^-r
"^ r
n-j ih.] >x*7Z
Fugue-tunes in old
Eustaphieve, Alexi, a Russian amateur in Boston, 46. Eiiterpeiad, an early musical journal, 44. Euterpean Society, New York, 53.
Evening Post, New York, Finck, music
critic,
316.
women in music, 293. Gantvoort, Arnold J., 346. Garcia, Manuel, his troupe in New York, 99. Gardiner, Charles P. (New England ConGade, on
servatory), 341. W. Francis, 332.
Gates,
Gaynor, Mrs. Jessie L., 307. Geilfert, George, early conductor, 96. Gericke, Willielm, first visit to America, 61 second,
Faelten, Carl, 341, 342. False settings of poems, 254. Faults of American music, 362.
62
Brockway
Gilchrist,
Federalists in 1798, 148.
Gilmore, Patrick
Fewkes,
157 Gleason, ;
Finck, Henry T., 315 et seq. : on Philharmonic Orchestra in 1903-1904, 56; opinion of MacDowell, 184; of his songs, 185.
87-88
S.,
at Fort Warren, introduced by, 163.
hymn
Keller's
Frederic G.,
Visconti,"
histories, 332.
196;
"Thusnelda,"
;
seq.:
et
195
"Song
of
"
Otho
Life,"
197; taught Mrs. Gaynor, 307 as critic. 331. " Glory Hallelujah " (the John Brown song), ;
156.
Glover, E. W., 346. "God save the King," 140
Arms, 348.
Fletcher, Alice, Indian music, 123, 130.
209. Foley. Bushrod
206;
;
Germania Orchestra, 56. William W., 240.
J. Walter, 123. Fillmore, John C, Indian music, 123, 126, 130;
his
;
plays 70 Singer fantasia,
drill-master,
suite,
Amy, 335. Festivals {see Music Festivals).
Adolph M., 209;
as
;
225.
Fay,
Foerster,
music, 12,
;
S. B., 270.
Fisher, William
New England
13, 16.
144; origin
;
American use
of,
of, 145.
Goepp, Philip H., 326. VV.,
as
conductor,
82;
as
teacher, 346.
Folk-music, American, Dvordk uses, 347 Chad wick uses, 123,347. Foote, Arthur, 188 et seq. ; suite in D minor, 188; chamber-music, 189; violin sonata 190; organ concert, 274; taught Surette,
Goetschius, Percy, 357.
Goldmark, Rubin, 210. Goodrich, A. J., 356-357; taught Mrs. Gaynor, 307.
Goodrich, Wallace, 267-268 Choral Art Society conductor, 82 Boston organ concert, ;
;
274.
Gorno, Albino, 346.
355-
Foreign influences in American music, 225. Foreign musicians in old Boston. 52. F'oreign orchestras in America, 69. Foreign performances of American composi-
European hearings). McHenry, bombardment of
tions (see
Fort spangled Banner"), 154. Foster, Stephen C, 134 et seq. cess in war music, 163.
;
(" Star-
had no suc-
Fox, Gilbert, first sang " Hail Columbia," 148. Franz, Robert, accompaniments for Handel and Haydn Society, 32 views on lyric forms, 243 friend of G. L. Osgood, 252 ;
;
Gottschalk, L. M., 282
et seq.
;
duets with R.
Hoffman, 290. Gould, Nathaniel D., 86.
Gow, George C,
354.
Grau, Maurice, 120. Graupner, Gottlieb, 46 in Handel and Haydn Society, 30; his music store, 43, 52. Grieg, Edward, opinion of W. G. Smith, 284; helped Van der Stucken, 195. Guilmant, 268 taught Bowman, 271 Norris, influence on American organ play241 ing, 272 at World's Fair, Chicago, 274. Gungl, in America, 69. ;
;
;
;
;
influence on Foerster, 209. Fries, Wulf, 85.
Frost,
Hon. Rufus (New England Conserva-
tory), 341.
Fry,
Edward
P., 108.
Fry, William H., 109 et seq. ; Jullien plays his works, 69 Fry's influence, 320. Fry, J. R., no. ;
"Hackney"
(Puritan hymn),
2.
Hadley, Henry K., 191-192; symphonies, 192. " Hail Columbia," 147 et seq.; contemporary
comment,
150.
organ concert, 274 programmes, 326.
Hale, Philip, 324 et seq. analytical
Hall,
Walter
E., 274.
:
;
THE HISTORY OF AMERICAN MUSIC
374
Henry
Hallgreen, Captain
J.
John Brown
(the
song), 157. Hamerik, Asgar, 224. Hanchett, Dr., 292.
;
collection of church music, 39
et
tri-
;
ennial festivals, 91 performance, Paine's "St. Peter," 166; " Nativity," 167 Chad;
;
wick's ''Rip van Winkle'' overture, 171
Buck's
Psalm, 233
;
Lang's work in, 260; an old critique. 312. See also Zerrahn Chickering Lang. Handel and Haydn Society of New York, Forty-sixth
;
;
;
Harper''s Weekly, Stevenson, music first
critic,
335.
American spinet-maker, 43.
"Hull's Victory," 155. Huneker, James G., 320 ei seq. Hupfeld, Charles P. (early Philadelphia musician), 77. Huss, Henry Holden, 198-199; Rhapsody,
Piano Concerto,
"Ave
Maria," 199.
Hyllested, August, 292.
not in early Puritan music, 4.
critic,
New York, Stevenson, music
335.
Indian music, 130
et seq. ; themes used by MacDowell, 131 by Kroeger. 208. "Indian Suite," by MacDowell, 131, 185. ;
Harvard Musical Association, 81. Harvard University, music course, 352
Thomas,
Julia Ward, 160. Howland, C. A., 274. Hughes, Rupert, 327; on MacDowell, 184; on Nevin (footnote), 246.
Independent. The,
Harris, William V., 256.
Hastings,
J. H., 230.
Hymns
73-74Hanslick, Edward, his style of review, 321. Harkness, Arma, 309. Harris, John,
Hora Novissima," by Horatio Parker, 179. Horn, C. E. (early conductor), 34, loi.
Howe, Howe,
Handel Society of Dartmouth College, 80. Handel and Haydn Society of Boston, 28 seq.
"
^Z seq.
86.
Haupt, taught Bird, 216; G. E. Whiting, 266 S. P. Warren, 271 E. M. Bowman, 271 Eddy, 275 Dr. Tourjee, 340 influence on American organ playing, 272 list of
Instruments in eighteenth century, 41 manufacture, 42.
;
early
;
;
;
;
;
;
American pupils, 273. Henderson, William J.,
321
et
seq.;
his
libretto to "
Cyrano," 235. Henschel, Georg, 60. Herbert, Victor, 238 director New York Philharmonic, 56 director Pittsburg Orchestra, 66 plays Kroeger's " Thana;
;
;
Hershey School, Chicago,
Sympliony Orchestra), 60, 61. Hill, Junius W., taught Mrs. Beach, 297 his work at Wellesley, 354. Hill, Uriah C. (founder New York Philharmonic Society), orchestral work, 54 New first York Sacred Music Society, 74 ;
;
;
349Jarvis, Charles H., 286.
"Jefferson and Liberty," 154. Johansen, Mme. Bertha, 109.
Johns, Clayton, 247-248. Johnstone, Arthur. 147.
Star-spangled Banner," 155
American hymn,
;
American organ-
wrote
Jordan, Eben D., 341. Jordan. Jules, 255. Joseffy, R., 289.
"Judith," by Chadwick, 175. Jullien's orchestral concert in
Keffer, Dr.
Edward
I.
New
York, 69.
(helped Philadelphia
Orchestra), 66. Keffer,
Kelley, to
poem
164.
Holt, H. E., 349. 351.
Mrs.
E.
I.,
established
low-priced
Edgar Stillman, 235 et seq. Macbeth " music, 236 " Puritania,"
Kelley, "
236; Chinese music, 236; Kellogg. Clara L., 309. Key, Francis Scott, 150, 154.
;
critic,
Kimball, Jacob, Jr., 21. Klauser, Karl, 354.
13, 22.
Homer, Louise, 310. Hone. Philip, on early New York Hood, Helen, 306. Hopekirk, Helen (Wilson), 307.
first
classical concerts in Philadelphia, 71. Keller, Matthias. 163.
string quartette, 85.
Hoffman, Richard, 290. Holden, Oliver, 19. Holmes, Dr. Oliver Wendell, added verse
Holyoke. Samuel,
;
builder, 43.
195, 275.
Hewitt, James, early conductor, 80, 96. Hiawatha, Indian song, 126, 129. Higginson, Henry L. (founder Boston
to Keller's
Jadassohn, taught Chad wick, 171 Beck, 207. Japan uses American public school music,
Johnstone, Thomas,
topsis," 208.
-'
Jackson, Dr. G. K. (early musician), 30, 312. Jack.son. Leonora, 309.
operas, 102.
Klein,
Bruno O., 239.
Klindworth, taught Nevin. 245. Knabe Hall, New York, 75.
332.
"
;
INDEX Kneisel Quartette, 85 plays Huss pianoforte trio, 199; A. Whiting, violin sonata, 213; Mrs. Beach's violin sonata, 302. ;
Kobbt^, Gustav, 319.
Henry E., 319 programme writer, 326 in
New
Maas, Dr. Louis, 223
" ;
York," 73
;
analytical
seq.;
et
Notes on Choral on Indian music,
:
MacDougall, Hamilton 274;
Krehbiel,
Music
375 taught Mrs. Gaynor,
C, organ
concert,
at Wellesley, 354.
MacDowell, Edward
"Indian
A., 182 et seq.;
songs, 185; pianoforte con183, 186; use of English musical
Suite," 185; certo.s,
186; "Hamlet" and "Ophelia," 187; professor at Columbia, 354. MacDowell, Jennie, wife of S. C. Foster, 137. Malibran, Mme., in New York, 99, 100. terms,
123, 126.
Kreissman, August, 81. Kroeger, Ernest K., 207
;
" Sardanapalus
"Hiawatha" overture on
overture, 207;
Manchester, A.
Indian themes, 208.
L., 327.
Mancinelli, 120.
Lachmund, Carl
V., 210;
Japanese overture,
211.
Manufacture of musical instruments
in
Amer-
ica, 361.
Lamperti, taught Osgood, 252. Lang. B. J., 259 et seq.; conducted Handel and Haydn Society, 35 Apollo Club, 81 taught Foote. 189 general influence, 165 ;
;
;
;
Lynes, 254; at Chicago World's Fair, 274 general list of pupils, 261 played Music Hall organ, Boston, 262; taught Helen Hood, 306; Apthorp, Nevin,
244;
;
;
322.
Manuscript Society, Chicago, Gleason, president, 196.
Manuscript Society, New York, 196. Mapleson, Colonel J. H., 115. "Marching through Georgia," 163. Maretzek, Max, 108, 114. Marshall, Leonard, 351. Marston, George W., 256. Marty opera troupe, 107. "Maryland, my Maryland," 156.
Lang. Miss Margaret Ruthven, 305 ei seq. Lavignac, defines criticism, 322. Lavigne, great oboist, in America, 69. Law, Andrew, 20. Lectures, first music in America, 99. Legion of Honor. Krehbiel Chevalier of, 320. Lemare, Edwin H., 92. Leonhard, Hugo, 313 with Dwight's /(?«r;/rt/ of Music, 314.
Mason-Thomas chamber
Lewis, Leo R., 355.
Mason, Dr. William, 279
;
"Liberty Song"
(first
American composition),
Mason, Dr. Lowell, 36 et seq. ; president of Handel and Haydn Society, Boston, 34 in
Academy
school
of Music, 78
music,
New
of William Mason, 279 assisted Thayer, 314. Mason, Luther W. (public school music), 349.
music,
;
58,
Van
and
assisted
der Stucken. 192,
chamber;
;
ner," 157.
MacDowell, 182; Lachmund, 195 ;
;
;
;
;
;
;
;
;
;
;
Bowman, 271;
Massachusetts
211; Boise, 215; Bird, 216; Burmeister, Singer, 224 Lang, 260 William 224 Mason, 280 Sherwood, 285 Baermann, HofTman. 290 Perry, 292 Rive288 King, 309; Huneker's life of, 321. Locke, Warren A., 274. Loeffler, Charles M., 217 et seq.; compared " Death of with Van der Stucken, 193 " Tintagiles," 221 Villanelle du Diable," " La Bonne Chanson," 223 his 223 dissonance and freedom, 240. Longy, Georges, 82. Loomis, Harvey W., 256. Loring Club, San Francisco, 82. Lynes, Frank, 254. ;
et seq.
taught
280;
Rive-King, 308 more American than Gottschalk, 283. Masonic use of tune of " Star-spangled Ban-
York, 76.
;
concerts, 58.
truly
Lind, Jenny, in America, 108. Liszt, taught
founded public Root, 162;
father
Sherwood, 285
140.
Libraries of music, 365. Liebling, Emil, 330-331.
Liederkranz,
;
taught
79;
;
Institute of Technology, Johns, student, 247 Bullard, 252. Massachusetts Musical Society (footnote), ;
28.
Massachusetts 12th Regiment (John Brown Song), 157, 160. Mather, Cotton. 3. 8, 9.
Mathews, W. S. B., 329 et seq.; on early Western concerts, 62 with William Mason, 281 contributor to Dwight's ;
;
Journal. 314. Mendelssohn, Fanny, as composer, 293. Mendelssohn Glee Club, New York, 76. Mendelssohn Union, New York, 75. Merz, Karl, 332. " Messiah " The, first partial performance in Philadelphia, 25 first complete performance in America, Franz added 33 ;
;
;
THE HISTORY OF AMERICAN MUSIC
n^
accompaniment, 32 ment by Dresel, 251.
pianoforte arrange-
;
Metropolitan Orchestra, 68.
Micmac
Negro music, character
of, 133. Neidlinger, William H., 256. Neuendorff, Adolf, 119.
Nevada, Emma, 310. Nevin, Ethelbert, 243
Indians, 130.
Middleschulte, 274.
Ossian E., 343. Mills, Sebastian B., 291 Mills,
taught Rive-King,
;
308.
;
Mollenhauer, Emil, conductor of Handel and Haydn Society, 35 other work, 72 conductor of Apollo Club, Boston, 82. Montressor troupe, in New York, 102. Moore, Homer (composing an American
;
teacher, 229;
;
trilogy), 238.
Moravian music. 88, 339. Morgan, Geraldine, 309. Morgan, G. W., 265 played Music Hall ;
organ, Boston, 262. Morse, Charles H., 273; pupil of J. C. D. Parker, 230; organ concert, 274; at
Wellesley, 355. Moscheles, Ignaz, taught Boise, 215; D. Parker, 229; William Mason,
J.
C.
280;
R. Hoffman, 290.
Joseffy, 289;
Mosenthal, Joseph, 77; taught Kobbe, 319. Music festivals, see Cincinnati, Chicago, Choir, Worcester, Peace Jubilee.
Music Music
libraries, great, 91, 361.
first
;
List of Illustrations)
New
terms. 42.
;
loi, 103. 122; Huneker, contributor, 320 Philip Hale, 324. Musical Fund Society, Philadelphia, 53, 77, ;
95
;
influence, 107
New York an operatic centre, 358. New York Choral Society. 74. New York College of Music (Kelley
Old Kentucky Home,"
136.
New New New New New
York, early music, 25.
York Harmonic Society, 75. York Music Art Society, yy. York Oratorio Society, 75. York Sacred Music Society, 74. Ne^a York Sun, Henderson, music critic, 322. New York Symphony Society, 67. New York Tunes, Henderson, music critic, 322. New York Tribune, William H. Fry, early music
no;
critic,
Krehbiel, music
Ward
Nichols, George
critic,
(Cincinnati College of
Music), 345. Nikisch. Arthur (Boston
Symphony Orches-
tra), 61.
Nordica, Lillian, 310; pupil at Conservatory, 343.
Homer
Norris,
New England organ concert,
A., 241, 242;
Oberlin Conservatory, 347. Oboe, first use in America, 50. " Observations by the Curious in
teacher, 177;
symphony,
offers
198;
Klein,
for
American
teacher,
239; Huneker, piano 289 Mrs. Thurber, founded, 347
teacher,
teacher, 321
;
influence of
DvoMk
National Opera
prize
;
;
as teacher there, 347. Company. 119, 121.
Rudolph (Cincinnati College of
Music), 345.
New Eng-
land," 8. "
Ode
for the Fourth of July," 146. Offenbach in America, 115. "Old Folks at Home," 136.
"Old Hundred." Nation, The, New York, Finck, critic of, 316. National Conservatory of New York, Parker,
NetT, Peter
instructs),
237-
339-
Joseffy,
in America, opera houses, 108.
;
274.
Musical Fund Society, Boston, 56. Musical culture, classes suggested, 349. Musical Institute, New York, 74. Musical societies in 1821, 80. Musician, The, Mathews, contributor, 330; Thomas Tapper, editor, 357. Musikverein, Milwaukee, 82.
My
255; Goodrich,
;
New Haven Orchestra, 66. New Orleans, introduced opera
York, quoted, 53, 69,
96,
"
Rotoli,
319-
Music Teachers' National Association, 92, 353. Music teachers, early advertisements, 42 {^see
241;
;
stores. 43.
Musical Courier^
Cutter,
Whiting, 266 Dunham, 267 268; Gardiner, president, 341.
stores, early, sell miscellaneous wares,
42
et seq.
Newberry Library, Chicago, 91. New England Conservatory of Music, 340 et. seq. ; Chadwick director, 171 receives great Music Hall organ, 262 Parker,
Oldmixon, Mrs.,
2, 5.
96.
O'Neill, John, 166, 343.
Opera troupes, see Bostonians Castle Square National Marty Montressor Garcia Opera Company also Damrosch Mapleson Maretzek Seidl Thomas Ullmann. ;
;
;
;
;
;
;
;
;
;
;
Opera, earliest performance, 95. Opera in Boston, 107. Operas, important and first performances, "Azara," 169; "The Archers" (early), 96;
;;
INDEX an American trilogy, 239; "Barber of Seville," by Paisiello, 95; "Beggar's Opera" (earliest performance), 94, 105; "Bohe(in 1846), 107; " Bourville
mian Girl"
Castle" (1797), 96; '-Caliph of Bagdad" " Cenerentola " (in early New York), 100 "Clari," the Maid of Milan (1832), 102; ;
(with "
"Der "Die
Home, Sweet Home,"
Walkiire,"
in 1823)599;
(early versions), 99;
Freischiitz "
attempts
first
114;
at,
" Edwin and " Doctor of Alcantara," 344 Angelina" (earliest?) 96; '-Fidelio" (in ;
English, in German), 103, 109; '• Gazza Ladra," 103; "I Puritani" (Palmo opens
"Jeande Paris," 100 "Judith" (modern sacred opera), 175; "Leonora," first worthy American opera, 109, no; "Notre Dame de Paris" (by Fry), no; "Parsifal" (first American performance), " Rip Van Winkle" (Bristow), 03 121 " Robert the Devil " (arranged and in with), 104;
;
;
;
English), 102
;
"Scarlet Letter"
(first
per-
234 " Tannhiiuser," first Wagnerian opera in America, 1 14, "The Vintage" (supposed first 116;
formance
in Boston),
;
American opera), 96. Operas, modern American, 233. Operatic season,
first in
Oratorio,
first
admis-
;
ica
;
Symphony
Cincinnati
Symphony; chestras
Thomas
Symphony
Peabody;
;
Pittsburg;
Chicago
Amer-
Philhar-
ductors' names.)
of Music
;
Hill
;
;
;
;
;
;
;
Thomas
;
Zerrahn.
151.
;
;
at Yale, 354.
Parker,
C. D., 229-230; "Life of Man,"
J.
C. H. 230; taught A. Whiting, 2n Morse, 273 early arrival in Europe, 280. Parodi, Teresa, 109. Parsons, Albert Ross, 286. ;
;
Patti, Adelina, 114.
Pattison,
John N., 286.
120
;
Peabody
Gaelic
symphony
played, 307.
Institute, Baltimore,
Boise, teachers, 206
Brockway and
orchestra, 66.
;
87, 88.
Peck, Dr. James, 75. Pellisier, Victor (early opera), 96. People's choruses, 87. People's Symphony Orchestra, New York, 71, Perabo, Ernst, 289 taught Mrs. Beach, 297. Perkins, Charles 34, 35. ;
C
Perkins, Dr. H. S., 93. Permanent orchestras, 68.
Edward
B., 291.
Petersilea, Carlyle, 343.
;
;
substitutes for, 29.
Organ music at St. Louis World's Fair, 208. Orpheus Musical Society, 81. Osgood, George L., 251,252; taught Jules Jordan, 255. O'Shea, John, 274. Ostinelli concert (early Boston), 311.
Philadelphia, in eighteenth century, 24 music teachers, 25.
Philadelphia Philadelphia
Organ, Boston Music Hall, 262. Organ concerts (Boston and Chicago), 274. Organ, the first made in America, 43 first one in Boston, 10; Brattle, 10; first in Philadelphia, 25
Thomas),
Palmo, early New York opera manager, 104. Pappenheim, Eugenie, Mme., 117. Parepa-Rosa, Mme., 122. Parker, Horatio William, 176 ^/ seq.; "Hora Novissima," 179; "St. Christopher," 180; organ concerto, 181; "Northern Song," 189 Boston organ concert, 274 professor
PfefTerkorn, Otto, 274.
Academy
Euterpean Society Germania Harvard Musical Fund Philharmonic also Graup-
Orchestras, early, see
ner
;
352Paine, Robert Treat (originally
Perry,
Seidl
{See also under con-
Wetzler.
;
;
Foreign, in
Philadelphia; Permanent Or-
People's
;
monic;
;
New Haven; New York
Jullien;
;
167; "Azara," 169; taught Foote, 189; Coerne, 202; Johns, 247; Lynes, 254; Dunham, 267; S. B. Whitney, 269; C. H. Morse, 273; Finck, 316; Apthorp, 322; Surette, 355; organ virtuoso, 259; Music Hall organ, 262 course at Harvard,
Peace Jubilee,
note), 33.
Orchestral music, earliest, 46. Orchestral season, a great New York, 56 Germania, ends suddenly, 57.
Symphony
St.
;
America, 100
Orchestras, see Boston
165 et seq.:
Peter, 166; symphonies, 166; "CEdipus,"
;
shortest
;
Paine, Professor John K.,
Paur, Emil, conductor of Philharmonic, 55 Boston Symphony, 62 German opera,
on record, 328. performance in America (foot-
sion prices, 100
2>n
Academy of Music, 347. Symphony Orchestra, 66,
;
early
68.
Philharmonic Society Orchestra (old), Boslast concert, 52; (new), Boston, ton, 49 60 New York, ^^ et seq. Philips, Henry, 99. Pianos, first uprights, 43 Behrent, first pianoChickering forte maker in America, 43 ;
;
;
;
invents iron frame, 45. Piano playing, excess of, in America, 365. Piano music, widespread in America, 279. Pitch-pipe
first
used, 16.
Pittsburg Choral Society, 209.
THE HISTORY OF AMERICAN MUSIC
378
Robyn, Alfred G., 256.
Pittsburg Musical Union, 209. Pittsburg organ concerts, 274. Pittsburg
Symphonic
Roeder, Martin, 343. Rogers, Clara K., 307. Rogers, James H.,256; influence in Cleveland,
Society, 209.
Symphony Orchestra, 66, 68. Plays as "Moral Lectures," 23. Pittsburg
207.
Farming-
Porter, Miss, celebrated school at ton. 354. Porter, Mrs. Edith Noyes, 307.
Frank
Porter,
286; pupil of Turner, 343.
A.,
Powell, Maud, 301, 309.
C, 201. " President's March," 148. Pratt, Silas
Preston, John A., 230.
new
for
;
Edna Dean,
colleges
(musi-
cal), 351 e^ seq.
Psalmody, the mother of American music, 358. Psalms in Puritan music, 2. Psalm-singing, lining-out, ily
5
;
disasters in,
16; objections to tunes, 8
worship,
;
6,
in fam-
Sachse, Dr. Julius F., on Moravian music, 340. St. Louis exhibition, 1904, 207; organ music at,
208.
Salmon, Alvah G., 286. Sanderson, Sybil, 310.
Public musical education, 339. Public rehearsals, established by
Philharmonic Society, 61. Public schools, music in, 349
music
S. Kelley,
332.
Savage, Henry W., 122, 358.
New York
"Say, Brothers,
will
Brown song), et seq.
Academy
;
Boston
of Music begins, 78 limitations of system, 348, 349, 351, 361. (See also ;
;
Examiner^ E.
Sa/i Francisco critic,
9.
Damrosch, F.
85.
160.
Professorships in American
7, ID,
Russell, Louis A., 273.
Ryan, Thomas,
national song, 156.
Proctor.
;
Russell, Ella, 310.
American opera, 109
Prize, offered for
Root, Fred. W., 161. Root, George F., 161. Roth. Johannes, 148. Rotoli, Augusto, 255 taught in New England Conservatory. 343. Royal Music School, Munich, 288. Rubinstein, on woman in music, 293.
Scheel, Fritz, 66
;
you meet us?" (John
157, i6r.
Philadelphia and San Fran-
cisco, 70, 256.
Schoenefeld,
" Sunny South " Symphony," violin so-
Henry, 197
overture, " Rural
and Mason, Lowell.)
;
nata, 198.
Quartettes, string,
and
quintettes, see
Cham-
Schools of music (j^^ Conservatories).
H.
Schreiner,
ber-music.
L., 162, 163.
Schuckburgh, Dr. ("Yankee Doodle"), 144. RadclifTe,
W., 274. MacDowell,
RatT, friend of
Schumann,
Clara, taught Perry, 292.
Scott, Charles P., 275.
182, 183.
Rag-time, 134. Randall, James R. (words to "Maryland"),
Seeboeck,
W. C,
292.
Seguin, 103.
Anton, 117; conductor Philharmonic, York, 55 orchestra work, 68 general influence, 165 performs Hadley symphony, 192 Converse's compositions, 205 Kroeger's " Sardanapalus " overture, 207; Foerster's festival march, 209 R. Goldmark's theme and variations, 210; Lachmund's Japanese overture, 211; Strong's "Sintram" symphony, 217 R. Hoff'man, plays with, 290; Rive-King, 309.
Seidl,
156.
Ravenscroft psalms,
New
4, 5.
Read, Daniel, 22. Redman, Harry N., 286. Reinecke, teaches Chadwick, 171
;
Van
der Beck,
;
;
;
Richter, teaches Foerster, 209; Boise, 215 J. C. D. Parker, 229 D. Buck, 231 William ;
Mason, 280
;
Ritter, F. L., 335
Rive-King,
;
Parsons, 286 Emery, 342. taught Parsons, 286. ;
;
Julia, 308.
;
;
Stucken, 195; Schoenefeld, 197; 206; Parsons, 286; Rive-King, 308; his views on women in music, 293. Rheinberger, influence, 252, 253 teaches Chadwick, 171; Huss, 198; Parker, 177; Coerne, 201; A. Whiting, 212; Bullard, 252 Wallace Goodrich, 268. Rice, Mrs. George B., 307. Richardson, piano method, 280.
;
;
;
;
;
Seidl Orchestral Society, 68.
Samuel, views on music, 6, 10, 11; mishaps in setting tunes, 16; virginals in his home, 41. Shelley, Harry Rowe, 199 pianoforte fantasia, Sewall,
;
200.
Sherwood, William H., 285 ing, 211
;
taught A. Whit-
Johns, 247. Sinfonia musical brotherhood, 343. ;
INDEX Otto,
Singer,
224;
Cincinnati
91; sympiionic fantasia, 225 taught W. G. Smith, 284. Singing contest, first in America, 28. Singing-schools in New England, 9 Puritan, festival,
;
;
ID,
I
I.
379
W. (biographer of Beethoven), 314 e/ seq. Thayer, Eugene, 262, 265.
Thayer, Alexander
Thomas, Theodore, 58
et seq. ; conducted Philharmonic Orchestra, New York, 55 Chicago Orchestra, 62 Cincinnati festival, 91 Chicago festival, 91 his large library, 65 highest rank as conductor in America, 70; not as great in opera, 120; general influence, 165 not a composer, 261 work in Chicago, 330 director of Cincinnati College, 345 performs Paine's symphony, 166; Gleason's works, first 196; Converse's, 205; Kroeger's "Hiawatha," 208 Lachmund's "Japanese Overture," 211; Buck's Centennial hymn, 231 Mrs. Beach's Gaelic symphony, 301 Miss Lang's " Witichis " overture, 306 G. L. Osgood, soloist with, 252 Mrs. Beach, 298 Rive-King, 309. Thomas's Orchestra in New York, 59. Thunder, H. G., 274. Thurber, Mrs. Jeannette, 347. Thursby, Emma, 310. Ticknor, Howard Malcom, 326. ;
;
Sleeper, Jacob, 341.
;
Smith, Gerrit, 272. Smith, John Stafford,
;
;
"Musica Antiqua,"
150.
;
Smith, Dr. Samuel F. (" America," author of), 147.
;
;
;
Smith, Wilson G., 207, 284. Sousa, John P., 226; marches, 227. Spalding, W. R., organ concert, 275 at Harvard. 353.
Spanuth, August, 322
;
analytical
work
;
;
;
programmes,
326.
;
;
Sparmann, Helen D., 335. Spinet, in New England, 41 spinet made, 43. Springer,
Reuben
;
American
first
;
(Cincinnati
college
of
music), 345. Springfield musical festival, 172. Stanfield, William, 275.
Stanley, A. A., 353. " Star-spangled Banner," 150 et seq.
Timm, Henry C, ;
in
South-
ern Confederacy, 155.
William (composer Song"), 156.
"John
Steffe,
Brown
Sternberg, Constantin von, 292. Stevenson, E. Irenagus (Prime), 335. Stewart, H. J., 256, 257. Stirling, W. S., 274. Stoeckel, Gustav J., 199. Stone, H. L., 353.
Strong, George T., 75. Strong, Templeton, 216;
chorus in
originated praise service, 344.
;
;
in Phila-
New York, early influence on America, 25, j^, 75. Tripler Hall, New York, 75. Trinity Church,
music
in
Truette, E. E., 269, 275.
Tuckerman, Dr.
"Sintram" sym-
phony, 217. 354, 355. in music, 293.
Swan, Allen W., 230, 275. Swan, Timothy, 22. Symphonies (see names of composers).
Symphony
Jubilee, 343
Trajetta, Signor, in Boston, 46, 52 delphia, 96.
269. (first
Strakosch, 109, 115, 328. String quartettes {see Chamber-music).
Thomas W., Svendsen, on woman
74.
Tomlins, William L., 91, 350. Tomlinson, Ralph, 150. Tonic Sol-fa in Chicago schools, 350. Tourjee, Dr. Eben, 340 ei seq. ; in Peace
Tretbar, Mrs. Helen D., 335. Trinity Church, Boston, Goodrich, organist,
Stoughton Musical Society America), 27, 28, 29.
Surette,
;
Hall, Boston, 62.
S. P., 262, 265.
Tuckey, William, 25. Tufts College Course Tufts,
John W.,
in
Music, 355.
350.
Turner, Alfred D., 343.
Ullmann, 109. University extension lectures, 354. University music courses, see Music in Colleges.
Taft, Frank, 274. " Tannhauser " overture (first
Wagner music
America), 119. Tapper, Thomas, 357. in
Ritter, 336.
University of
Taylor, Raynor (early Philadelphia musician),
24
;
Temple
with Musical
Fund
University of Michigan, 353. University of New York, confers degree on
Society, 77.
choir, Brooklyn, 272.
Pennsylvania,
music
course,
351-
Upham, Dr. George 262.
B. (Music Hall organ),
;
THE HISTORY OF AMERICAN MUSIC
38o Upton, George
P.,
327
Wheeler, Lyman W., 343. Whelpley, B. L., 275. White, Richard G., 337. Whiting, Arthur B., 211 et seq.; " Floriana,"
et seq.
Urso, Camilla, 309.
Van Van
Cleve,
J. S.,
331.
der Stucken, Frank, 192 et seq.
Western composer, 70
;
;
greatest
American concert,
director of Cincinnati College of 193 Music, 346; " William Ratclilfe," 193. ;
Van
Zandt, Marie, 310.
;
Voice, national characteristics, 310.
Wagner, Richard, Chicago performance precedes European, 62 first American opera ;
performance,
119; trilogy published in 316; Finck, biography, 316;
Kobbe, 319; KrehbiePs essays, 320. Wagner operas begin in New York, 114. Walter, Rev. Thomas, 2, 8, 9, li. Warren, George W., 270, 271. Warren. Mrs. Mercy (writes first American song), 141.
Warren, Richard H., 271. Warren, Samuel P., 271 taught Gerrit Smith, William G. Carl, 272 L. A. 272 ;
;
;
Washington, General, attends opera, 24. " Washington's March," 148. Weaver, Sterrie A., 351. Webb, George J., conductor of Handel and Society, 34
;
piano-
:
;
taught Chadwick,
343;
Dunham, 267 C. H. Morse, Whitney, Myron W., 309. ;
Whitney,
S. B.,
269
seq.
et
170;
273.
Boston organ
;
concert. 275. Widor, C. M.. 268.
Wilcox, John H.. 262, 265. Wild, Harrison M., 273. 274. Wilson, George H., 326. Winchester, Amasa, 31 president of Handel ;
and Haydn, 34;
Mason, 39; in Philharmonic Society, Boston, 49. Winthrop, Hon. R. C, 30. Wolle,
J.
assists L.
Fred., 88, 274.
Woodbridge,
W. C,
public school music, 78.
Woodman,
R. H., 273, 274. Woolf, B. E., 322, 323.
Worcester
music
festivals,
88
;
Chadwick
conducts, 172.
Work, Henry Clay (songs of
Civil
War),
Working
people's choruses, 87.
World's Fair, Chicago, organ music, 274 Mrs. Beach's works performed, 301 diploma to Helen Hood, 307.
;
conductor of Academy
Boston Musical of Music orchestra, 56 Fund Society, 56; efforts for spreading ;
musical education, 78. Webb, Thomas Smith, 30, 31, 34. Webster, Colonel Fletcher (John
ment by Dresel, 251. Western orchestra concerts Wetzler, H. H., 68. Wetzler Orchestra, 68.
confers degree
music course, 178, 354; on William Mason, 281
Philip Hale
324.
Yale
University,
at,
"Yankee Doodle,"
;
143 et seq.
Brown
song), 157, 160. Wellesley College, C. H. Morse, 273; Hill, J. W., 354; H. C. MacDougall, 355. " Well-tempered Clavichord," Bach's, arrange-
Wheeler, Harry, 343.
212;
concerto,
161.
Russell, 273.
Haydn
pianoforte
and orchestral fantasia, 213. Whiting. George E., 265 et seq. at Chicago World's Fair, 274 at New England Conservatory,
Vassar College, E. M. Bowman, music director, 272 George C. Gow, 354. Virginia, early music copied from English, i. Vogt. A. S., 274.
America,
212; forte
Zerrahn, Carl, 35, 36; as flute-player, 58; Harvard Musical Association Orchestra, general his orchestra influence, 70 58 ;
influence. 165
;
;
taught conducting at
England Conservatory, (early), 62.
New
343.
Ziegfeld, Dr. Florence, 347. Zion Church, New York (early music), 74.
Zweckwer, Richard, 347.
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