Chapter XIII (2)

PAINE (1839). As Hughes fitly expresses it, Paine is the venerable dean of America's truly great composers. Dr. Riemann also is not far wrong when he declares that Paine's earlier works breathe a classical, the latter ones a romantic spirit. This unwearying composer is at his best in large forms--indeed, his supreme devotion to large undertakings has left him little time for smaller works. His artistic career displays a steady growth not unlike that of Wagner or Verdi. Grounded in the conservative principles of sound Germanic classicism, as revealed in his powerful and dramatic oratorio "St. Peter," he has pressed onward through various stages of legitimate program music, represented by such works as the "Spring Symphony," the symphonic poem "The Tempest," the overture to "As You Like It," the setting of Keats' "Realm of Fancy," Milton's "Nativity," and, most important of all, the "Oedipus Tyrannos of Sophokles." Having reached the height of his power in these lines, Paine advanced yet further and concentrated his energies upon not only the music but the libretto as well of a dramatic conception that should head the list of a genuine American school of opera. The recent completion of "Azara," with its dramatic continuity, irresistible climaxes, dignity and beauty of musical contents, consistent and effective orchestration, is of epoch-making significance. The exasperating obstacles placed in the way of its performance both here and abroad are, alas, too well known to require additional comment. Until a production of this work shall have been an accomplished fact, our country justly merits the existing condemnation of foreign musicians who declare that America has not the slightest conception of her duties either to her artistic development or to her native composers who have sacrificed the best years of their lives in the hope of stimulating that development. Not without justice do the Germans declare that the American public at large possess no artistic instincts whatever, since they force their native composers to turn to foreign lands for encouragement.[109]

[Footnote 109: John Knowles Paine died in Cambridge, Massachusetts, on April 25, 1906. He did not live to hear a complete performance of his opera, although after his death a concert rendition of most of the music was given as a memorial in Boston under the direction of B.J. Lang.]

BUCK (1839) is conspicuously identified with the evolution of American church music. As a composer he is at his best in religious composition in smaller forms. On the other hand, his important contributions to the branch of larger choral works with orchestral accompaniment must not be overlooked. His scenes from Longfellow's "Golden Legend" were deemed worthy of winning one of the coveted prizes at Cincinnati. The cantata for male chorus "Columbus" displays masterly command in the deployment of men's voices, whereas the "Light of Asia" is one of the standard works of America. Buck has rather neglected the field of purely orchestral music, but the scoring of his choral compositions reveals the firm hand of a master.

FOOTE (1853). Turning to a younger generation who have sturdily maintained the high standard set before them, one naturally recalls the name of one who may perhaps be regarded as the most satisfactory exponent of the efficiency of two American teachers, Paine and Lang, the most significant representative of an exceptional class of musician--the native trained composer, Arthur Foote. It is generally conceded that Foote is possessed of unusual powers in writing for men's voices. Widely known is his "Skeleton in Armor" with its forceful utterance, as well as his poetic setting of "The Farewell of Hiawatha." Again, in the field of song lyrics he has endeared himself to the worthy army of singers by virtue of a notable series of exceptional and widely contrasted productions. His true strength would, however, appear to reveal itself in the noblest vehicles of musical thought--the quartet and the orchestra. Foote does not aim to produce sensational effects, in fact his orchestral canvas has, on the whole, a grayish hue. The seriousness of his purpose, the serenity of his ideals, and the unmistakable impress of a cultured University training are faithfully reproduced in the nobility, the breadth, and the sober though appropriate coloring of his artistic conceptions. The present writer is inclined to regard him as the Brahms of this country.

CHADWICK (1854). In contrast to Foote's domestic education, Chadwick stands among the first of that memorable list of students who served a rigorous apprenticeship under Rheinberger in Munich, and thereby helped to perpetuate his name in America. A mighty throng followed in Chadwick's footsteps, among whom were the composers Parker, Huss, Bullard, Atherton; the educators Lewis and Spalding; the organists and teachers John White, Howland, and Bertram Henry. Not only did Chadwick with one stroke make his individuality felt upon returning to his native land,--an individuality that has since been strengthened rather than lessened,--but his appointment to the directorship of the New England Conservatory of Music was a choice so opportune that that institution has since been raised to a standard of excellence it never before had enjoyed, and is becoming one of the recognized arbiters in the musical affairs of the country. Like Foote, Chadwick has tried his hand in divers fields of composition, being particularly successful in writing part-songs as well as songs with pianoforte accompaniment. Large choral works have, however, also claimed his attention, and are represented by his cantata "The Pilgrims," and again by "The Viking's Last Voyage" for barytone solo, male chorus and orchestra. It appears to be the fortune of American composers to become known primarily by their vocal compositions. This is also true of Chadwick. Nevertheless, he has given expression to his loftiest inspiration in a series of chamber and orchestral pieces that stamp him as a keen judge of those essentials required for large instrumental works. His form, though conservative, is well rounded. His orchestration is chaste and refined rather than sensational and glowing. His music is above all manly and energetic. Personally, Chadwick may not regard his operetta "Tabasco" with all too favorable eyes; yet the step taken was assuredly in the right direction. It is to be regretted that our contemporary American composers seem unable to take a firm stand in imperceptibly educating the public with a light yet artistic _genre_ of music such as characterizes Chadwick's "Tabasco" or the earlier operettas of Victor Herbert and de Koven.

MACDOWELL (1861). In venturing the assertion that MacDowell stands apart on his exalted pinnacle of fame, there is not the slightest danger of incurring disparaging comparisons between him and his eminent contemporaries who have been classified under this heading. Paine's monumental achievements are unassailable. Buck occupies an honorable position as one of the foremost of our writers of church music. Foote and Chadwick have each of them established their respective individuality as composers of exceptional ability. Parker holds undisputed sway in his particular domain. What separates MacDowell from his colleagues is the difference between his perspective and theirs. His conceptions betray certain tendencies that are foreign to their Anglo-Saxon ruggedness with its Teutonic substructure. MacDowell's Scotch ancestry, his intimacy with Raff, his contact with the artistic life of Paris,--all these circumstances helped to mould his exceptional genius into a form distinctly original and unique. It is natural that the influence of his teacher, Raff, should predominate. But whereas Raff's programmatic expositions deal in the romance of enchantment, of the supernatural, of the fantastic, MacDowell pins his faith to the romance of poetic imagination symbolic of emotional realities. Lawrence Gilman, in a persuasive essay on MacDowell, eulogizes, together with other works, his symphonic poems "Hamlet and Ophelia," "Lancelot and Elaine," "The Saracens" and "Lovely Alda" as "the works of a master of imaginative expression, a penetrative psychologist, above all, an exquisite poet." The same writer further remarks that "MacDowell has chosen occasionally to employ, in the realization of his purposes, what seems at first to be precisely the magical apparatus so necessary to the older romanticism. Dryads and elves inhabit his world, and he dwells at times under faery boughs and in enchanted woods; but for him, as for the poets of the Celtic tradition, these things are but the manifest images of an interior passion and delight. Seen in the transfiguring mirror of his music, the moods and events of the natural world and of the incessant drama of psychic life are vivified into shapes and designs of irresistible beauty and appeal. Both in theory and in practice, MacDowell stands uncompromisingly for music that is, of intention, persistently pictorial and impressionistic.... It is as much in his choice of subjects as in the peculiar vividness and felicity of his expression, that he is unique among tone-poets of the external world." The above citations present a faithful picture of MacDowell's philosophical reasonings. His chord formation, harmonic progressions, thematic treatment and structural form are all in accord with the psychological subtleties to be expressed.

It is particularly in orchestration that MacDowell discloses certain French characteristics. Many of his pages might have been written by Saint-Saëns himself, but the "solid" foundation inoculated by the exacting requirements of his German training is never entirely absent. As a result, MacDowell's scoring frequently surpasses even that of his illustrious French contemporary. MacDowell proves no exception to the rule in that his popularity is due not so much to his more significant orchestral works as to his smaller offerings such as his attractive and highly ingenious pieces for the pianoforte. He has still many years before him, and gives promise of ever increasing power and versatility. America may well be proud of him![110]

[Footnote 110: The entire country mourns the premature death of Edward Alexander MacDowell, which occurred in New York on January 23, 1908.]

PARKER (1863). In several respects Parker's orchestral and choral style bears some affinity to that of both Foote and Chadwick. His subject-matter, like theirs, is serious--at times even severe; his formal structures are conservative; his command of vocal forces is supreme. Again, his orchestral colors, like theirs, are accused of being cold and gray,--devoid of scintillating tints and glowing hues. This may be true to a certain extent. But when one considers the _genre_ of choral composition to which these three composers are addicted, it will be readily seen that a radical readjustment of their orchestral pages in favor of warmer coloring would be inconsistent with the nature of their oratorical settings. Among the most conspicuous of Parker's productions are the overtures "Regulus" and "Count Robert of Paris," the ballad for chorus and orchestra "King Trojan," and, of course, his masterpiece "Hora Novissima." Parker shares with MacDowell the good fortune of having already won enduring recognition in foreign lands,--Parker in England, MacDowell in France, Germany and Russia. Yale University was one of the first institutions of this country to follow Harvard's lead in establishing a chair of music, and showed sound judgment in selecting so eminent a composer as Parker to occupy that chair.

* * * * *

As already intimated, the country is further represented by a dignified array of American born composers for the orchestra, who are working against fearful odds in behalf of improved conditions for native art. Gilchrist (1846) was, like Arthur Foote, trained in this country, and is identified with the city of Philadelphia. His forte is choral and religious music, being, moreover, a remarkably successful prize winner. His symphonic attempts show sound scholarship, but are conservative and non-programmatic. The name of F.G. Gleason (1848) is highly respected in Chicago. His works display harmonic rather than melodic strength, and were frequently performed by Theodore Thomas. In Pittsburgh, Adolph Foerster (1854) has done fine work in both large and small forms. Of unusual interest are the scores of J.H. Beck (1856) in consequence of their novel effects and warm coloring. His early success in Germany justified the hope that he would become widely known, but he seems to have so far intentionally avoided the publishers. Arthur Bird (1856) cannot be blamed for preferring to live in the midst of the generous artistic encouragement of a European city. Of especial merit are his symphony in A and the ballet "Rübezahl." The representative composer of San Francisco is Edgar S. Kelley (1857). He was a pupil of Clarence Eddy, but studied also in Stuttgart. He is essentially a programmatic writer, possesses considerable originality and humor, orchestrates with skill and daring, and has been especially successful with his melodramatic music to "Macbeth." Henry Schoenefeld (1857) was a pupil of both Reinecke and Lassen, and was identified with Chicago. His undertakings are worthy of consideration in consequence of his adaptation and idealization of negro melodies in his Suite for string-orchestra, op. 15, before Dvo[vr]ák's experiments of similar nature. Schoenefeld has since written an overture entitled "In the Sunny South." San Francisco can boast of yet another orchestral composer of repute--Frederick Zeck Jr., who has written, among other things, several symphonies, a symphonic poem, and even a romantic opera.

Frank van der Stucken (1858) cuts a large figure in the evolution of American music. He is frequently though erroneously regarded as a German, but he was born in Texas, and studied not only in Leipzig but under Benoit in Antwerp as well. He first rose to prominence as director of the Arion Male Chorus Society of New York. In 1885 he instituted a series of "Novelty Concerts" that opened up new possibilities to America's neglected composers. Since undertaking the directorship of the Cincinnati Symphony Orchestra in 1895, van der Stucken has made himself a national benefactor by encouraging and repeatedly performing American productions. He is himself a composer of no mean ability, possesses decidedly modern tendencies, and orchestrates with unerring certainty. His compositions cover a wide field and include an opera "Vlasda," a symphonic prologue "William Ratcliff," and a Suite on Shakespeare's "Tempest."

Walter Damrosch (1862) has acquired the right to be ranked with America's orchestral composers on account of his grand opera "The Scarlet Letter," and Reginald de Koven (1859) knows how to enhance the scores of his comic operas with a lightness of touch and some clever devices. "Robin Hood" and "The Fencingmaster" are sprightly and refined even though guilty of occasional plagiarism.

Mrs. Beach is rightfully looked upon as an eminent leader among the women composers of America and is fully entitled to equal rank with her fair contemporaries in France, Cécile Chaminade and Augusta Holmès. Her "Gaelic Symphony" has been performed not only by the Boston Symphony Orchestra and by Theodore Thomas, but has been granted numerous performances by other representative organizations as well. Mrs. Beach's scores are exceedingly elaborate--possibly too much so. Nevertheless, her command of orchestral resources is remarkable, and in her Mass in E flat, op. 5, she has obtained impressive effects, rich colors and dramatic climaxes.

The scores of Bonvin and Lewis have already been referred to. The former evolves his conceptions by means of the most intricate polyphony and with an opulence of orchestral effects. Lewis has branched out into lines distinctly his own. A Brahms background of grayish orchestration is in evidence, but his rhythm is absolutely unfettered, his harmonies are bold, and his mastery of thematic treatment is unusual.

Of the younger composers born after 1860, much may be expected from F.S. Converse of Harvard,[111] who is in close touch with the ultra-modern school of composition with all its attending freedom of form and emancipation from stereotyped pattern, for he has already excited attention both in this country and in England.[112] A promising pupil of Rheinberger is Henry Holden Huss, who is essentially a dramatic and lyric composer. The healthy and above all optimistic tendencies of Henry K. Hadley's compositions, as exemplified by his symphony "Youth and Life," stand out in sharp contrast against the morbidness and pessimism that have apparently won the upper hand in musical art during the last fifteen years. Rubin Goldmark was born in New York and is living at present in that city. He is possessed of a thoroughly artistic nature and has inherited much of his eminent uncle's originality and ability to impart luscious tone-colors to his orchestral tableaux.

[Footnote 111: See footnote, page 173.]

[Footnote 112: "The Pipe of Desire," a romantic grand opera in one act by F.S. Converse, was twice performed in Boston early in 1906, and reveals significant command of the modern technics of orchestration.]

Before concluding this classification of orchestral composers it is desired to remind the reader of the vast significance attached to the labors of Dvo[vr]ák and X. Scharwenka during their sojourn in the United States. Again, other foreigners who have cast in their lot with us, such as Loeffler[113] and Victor Herbert, are now practically regarded as loyal American composers. Both these men are possessed of sovereign command of orchestration. The one uses his art for portraying vivid realism, the other for the purpose of clothing his pleasing conceptions as evolved in daintier vein.

[Footnote 113: The recently performed "Pagan Poem" (op. 14) of Charles Martin Loeffler (1861) would indicate that a list of the world's representative masters of modern orchestration made up five years from now would include his name.]

There are undoubtedly a number of important American composers whose names have been omitted from these pages. The present writer desires to apologize for any such unintentional omission under the plea that it has not been his good fortune to have his attention called either directly or indirectly to their compositions in larger forms.

XIII.

(3) =Orchestral and Choral Conductors.= The progress of a country's musical art rests largely in the hands of its orchestral and choral conductors. America has been exceptionally fortunate in this respect, for her history presents an army of luminaries who are unexcelled the world over. The concert and operatic stage of New York owes its very existence to such indefatigable workers as Carl Bergmann (1821), Dr. Leopold Damrosch (1832), Theodore Thomas (1835), Anton Seidl (1850), all four of whom were Germans. And at the present day, there are a number of eminent conductors in New York.

To Theodore Thomas more than to anyone else is due the present high standard of musical taste in America. At the head of an excellent virtuoso orchestra, he traversed the country in his earlier years, and revealed for the first time the value and meaning of the thoughts of the great masters, while toward Wagner, Tschaikowsky, Dvo[vr]ák, etc., he performed the same mission. These were the days when the New York Philharmonic Society and the Harvard Musical Association in Boston were the only permanent institutions devoted to orchestral music. Theodore Thomas not only established a new standard of interpretation in this country, but so catholic was his taste and so far reaching his purpose that the debt to him can never be paid. During his entire career, his attitude toward the American composer was that of a helpful ally and friend. It was as conductor of the Philharmonic Society of New York for a term of years and particularly as conductor of the Cincinnati May Music Festivals and of the Chicago Orchestra that Thomas' maturer and later years were passed; and it is especially in these cities that his memory and influence will remain ineradicable.

In Boston prior to the establishment of a permanent symphony orchestra in 1881, Lowell Mason's initiative was zealously fostered by the two foreigners, Carl Zerrahn (1826), Bernhard Listemann (1839), and by B.J. Lang (1839), together with other tireless enthusiasts. The Boston Symphony Orchestra has since attracted the best the world can afford--Henschel, Gericke, Nikisch, Paur.[114] Inland, public-spirited citizens have made it possible to establish local symphony orchestras and have almost invariably been exceedingly fortunate in their choice of conductors. Theodore Thomas migrated to Chicago. Franz van der Stucken was called to Cincinnati, Frederic Archer, Victor Herbert, Emil Paur to Pittsburgh, Fritz Scheel to Philadelphia. Perhaps one of the greatest services to the education of the country has been rendered by that vast brotherhood of German Singing Societies which flourish from shore to shore. The high standard of their performances has been constantly sustained by men of splendid attainments such as, for instance, van der Stucken while in New York, John Lund while in Buffalo, Franz Bellinger in Indianapolis. In recent years American Choral Societies have forged to the front. Chicago owes much to Tomlins. Frank Damrosch and his colleagues are doing good work in New York; Mollenhauer, J. Wallace Goodrich and others in Boston. Similar conditions prevail in almost every large city in the Union. Neither may the beneficent influence of our military bandmasters upon the masses be overlooked. Considering the conditions that have existed in the past, no one can censure them for catering to the demands of the public. Nevertheless, they have little by little managed to interpolate numerous transcriptions from works of recognized merit. Such men as Gilmore, Sousa and Innes have done more for the cause of good music than is popularly supposed.

[Footnote 114: Dr. Karl Muck was its conductor for the season of 1906-1907, and continues in the position for 1907-1908.]

(4) =Songs and Smaller Forms.= One of the most favorable opportunities open to modern composers in their struggle for recognition is found in the field of songs and salon music. This is particularly the case in America. Consequently, all of our representatives produce such offerings, and that with success. A few composers, however, have made a special study of song writing and pianoforte pieces in lighter _genre_. Conspicuous among these are G. Templeton Strong, J.H. Rogers, Clayton Johns, Neidlinger, Ethelbert Nevin, Margaret Ruthven Lang, Fred Field Bullard, and Percy L. Atherton. Especial mention is due to Clayton Johns for the charming lyric quality of his songs; to Nevin for the fascination of his lighter pianoforte pieces, that nevertheless avoid triviality; to Miss Lang for the fairy-like daintiness of many of her conceptions; to Bullard, whose promising career was prematurely cut off at the very moment when the rugged simplicity of his inspiring songs and choruses had won the hearts of his countrymen; to Atherton, who is, perhaps, the most talented of contemporary song writers in the realm of subtle psychological reasoning.

(5) =Organists and Church Composers.= It may be boldly asserted that America concedes the palm to none in the art of organ playing. Such is the skill in registration demanded in these days that that art is practically assuming the dignity of orchestration. This demand has been largely brought about by the need of finding an adequate substitute for concert orchestras. As a result, not only the large cities but almost every town in the Union possesses one or more modern organs presided over by executants of marked ability. In most cases these men devote themselves to church composition as well. Almost all the composers whose careers we have just been reviewing count church playing and church composition among their accomplishments. The only notable exception is MacDowell, who is, instead, a virtuoso pianoforte player. This is not the place to examine into the work of our many excellent church organists and composers. One is confronted by notable names wherever one turns. In Boston, Warren A. Locke has for many years held undisputed authority in matters pertaining to church services and boy choirs. Whitney and Whiting have done similar good work. Of the younger men, J. Wallace Goodrich displays an astounding technique, unexcelled either in this country or in France. The high standard of Episcopal church music in New York is due to such men as Samuel P. Warren, Richard H. Warren, Stubbs, Hall, etc. Among the prominent soloists are Eddy, Archer,[115] and Gerrit Smith. Shelley (1858) is widely known for his church compositions. He has also written large works such as the oratorio "The Inheritance Divine," but owes his popularity primarily to pleasing though rather conventional songs. Another prominent church composer is Jules Jordan of Providence, whose interest is centered chiefly in oratorio. N.H. Allen, Marston, Hanscom and Coombs should also be mentioned under this heading.

[Footnote 115: Frederic Archer died since the above lines were written.]

(6) =Teachers and Theorists.= Teachers and theorists have found a fertile field in the United States, and in scientific educational matters the native American easily takes the lead. Already a dignified array of theoretical and pedagogical books have been added to the literature of music by such authors as A.J. Goodrich, A.R. Parsons, Goetschius, Wilson G. Smith, Matthews, Chadwick, Benjamin Cutter, Spalding, Norris. American teachers have won recognition in Europe as well. Goetschius found occupation in Stuttgart; Boise was for years an authority in Berlin.

(7) =School and College.= Of late, increased attention has been bestowed upon the study of music in the college curriculum. Harvard's lead is being followed, and chairs of music have been established on every hand. Harvard has been obliged to increase its staff of musical instructors, so that Paine is now assisted by Spalding and Converse.[116] Excellent work is being done by Parker at Yale, Lewis at Tufts, Gow at Vassar, Macdougall at Wellesley, Chadwick at the New England Conservatory, Pratt at the Hartford Theological Seminary. At Columbia, MacDowell has been succeeded by Rübner, who is ably seconded by McWhood. Smith College was one of the pioneers in musical affairs, being represented until recently by Blodgett, who was possessed of a peculiarly magnetic power. One of his prominent lieutenants, who is still in active service at Smith, is the pianoforte teacher and pedagogue, Edwin B. Story. He is one of the most fluent accompanists in the country. The enterprise of these college professors is making itself felt in the preparatory schools of the country, whereby the entire artistic morale of the public at large is being elevated. Credit is also due to the sound principles inoculated into the teaching of music in the public schools by such men as Frank Damrosch in New York or Tomlins in Chicago.

[Footnote 116: The retirement of Professor Paine not long before his death, and the recent resignation of Assistant Professor Converse for the purpose of devoting himself to composition, leaves the department of music at Harvard in charge of Assistant Professor Spalding.]

* * * * *

The writer has intentionally overstepped the bounds of orchestral composition for the purpose of emphasizing the prodigious activity displayed by our professional brethren on every hand. Throughout these pages there runs an undercurrent of discontent provoked by the listless attitude of the American public taken as a whole. The fickleness of their support seems to be at the root of our troubles. Everything conceivable is being done for this public. Music in the schools is encouraged. The colleges are alive to the needs of the hour. Many of our composers are sacrificing their inner convictions on the altar of patriotism with the determination to write simply. Music lovers and philanthropists are enlisted in the cause. A high musical standard for religious worship is maintained. Orchestral performances can be listened to at moderate cost. Such renditions are as good as, frequently better than, those in Europe. How is it, then, that so many choral societies flourish for a few seasons, only to eventually die a lingering death? Buffalo's Symphony Orchestra is no more. Other cities have allowed similar mortifying conditions to come to pass.

On the other hand, the singer or the instrumental virtuoso reaps rewards that are out of all proportion to the tardy recognition and modest remuneration awarded to their colleagues--the composers, conductors, and organists--who are almost invariably possessed of an artistic education far superior to that of the soloist. A Rossinian era would appear to have reasserted itself! The larger number of these soloists are themselves rarely patriotic, for only with difficulty can they be persuaded to sing or perform even the finest of American productions. Orchestral conductors who come to our shores from abroad soon perceive that the public does not support home talent in a whole-hearted manner, and adjust their programs accordingly. With a few notable exceptions, they too are disloyal. Again, the worthy efforts of our comparatively few eminent newspaper critics in behalf of the American composer are constantly counteracted by the superficial and bombastic criticisms of their lesser brethren.

The American composer is to-day ready to enter the lists against the entire world. His own countrymen are impeding him. It is high time that the American public awake out of its lethargy!

(Summary on page 180.)

SUMMARY OF PART III.