Contemporary American Composers Part 17

Johns was born at New Castle, Del., November 24, 1857, of American parents. Though at first a student of architecture, he gave this up for music, and studied at Boston under Wm. F. Apthorp, J.K. Paine, and W.H. Sherwood, after which he went to Berlin, where he studied under Kiel, Grabau, Raif, and Franz Rummel. In 1884 he made Boston his home.

If San Francisco had found some way of retaining the composers she has produced, she would have a very respectable colony. Among the others who have come east to grow up with music is William Arms Fisher, who was born in San Francisco, April 27, 1861. The two composers from whom he derives his name, Joshua Fisher and William Arms, settled in Ma.s.sachusetts colony in the seventeenth century. He studied harmony, organ, and piano with John P. Morgan. After devoting some years to business, he committed his life to music, and in 1890 came to New York, where he studied singing. Later he went to London to continue his vocal studies. Returning to New York, he took up counterpoint and fugue with Horatio W. Parker, and composition and instrumentation with Dvorak. After teaching harmony for several years, he went to Boston, where he now lives. His work has been almost altogether the composition of songs. A notable feature of his numerous publications is their agreeable diversion from the usual practice of composers, which is to write lyrics of wide range and high pitch. Nearly all his songs are written for the average voice.

His first opus contains a setting of "Nur wer die Sehnsucht kennt,"

which I like better than the ba.n.a.l version Tschakowski made of the same words. The third opus contains three songs to Sh.e.l.ley's words.

They show something of the intellectual emotion of the poet. The first work, "A Widow Bird Sate Mourning," is hardly lyrical; "My Coursers Are Fed with the Lightning" is a stout piece of writing, but the inspired highfalutin of the words would be trying upon one who arose to sing the song before an audience. This, by the way, is a point rarely considered by the unsuccessful composers, and the words which the singer is expected to declare to an ordinary audience are sometimes astounding. The third Sh.e.l.ley setting, "The World's Wanderer," is more congenial to song.

Opus 5 is ent.i.tled "Songs without Tears." These are for a ba.s.s voice, and by all odds the best of his songs. An appropriate setting is Edmund Clarence Stedman's "Falstaff's Song," a noteworthy lyric of toss-pot moralization on death. His song of "Joy" is exuberant with spring gaiety, and some of his best manner is seen in his "Elegie,"

for violin and piano. He has also written a deal of church song.

A venerable and distinguished teacher and composer is James C.D.

Parker, who was born at Boston, in 1828, and graduated from Harvard in 1848. He at first studied law, but was soon turned to music, and studied for three years in Europe under Richter, Plaidy, Hauptmann, Moscheles, Rietz, and Becker. He graduated from the conservatory at Leipzig, and returned to Boston in 1845.

His "Redemption Hymn" is one of his most important works, and was produced in Boston by the Handel and Haydn Society in 1877. He also composed other works for orchestra and chorus, and many brilliant piano compositions.

An interesting method of writing duets is that employed in the "Children's Festival," by Charles Dennee. The pupil plays in some places the primo, and in others the secondo, his part being written very simply, while the part to be played by the teacher is written with considerable elaboration, so that the general effect is not so narcotic as usual with duets for children. Dennee has written, among many works of little specific gravity, a "Suite Moderne" of much skill, a suite for string orchestra, an overture and sonatas for the piano and for the violin and piano, as well as various comic operas.

He was born in Oswego, N.Y., September 1, 1863, and studied composition with Stephen A. Emery.

A composer of a genial gaiety, one who has written a good minuet and an "Evening Song" that is not morose, is Benjamin Lincoln Whelpley, who was born at Eastport, Me., October 23, 1863, and studied the piano at Boston with B.J. Lang, and composition with Sidney Homer and others. He also studied in Paris for a time in 1890. He has written a "Dance of the Gnomes," that is characteristic and brilliantly droll, and a piano piece, called "Under Bright Skies," which has the panoply and progress of a sunlit cavalcade.

Ernest Osgood Hiler has written some good music for the violin, a book of songs for children, "Cloud, Field, and Flower," and some sacred music. He studied in Germany for two years.

_The Chicago Colony._

Most prominent among Chicago's composers is doubtless Frederic Grant Gleason, who has written in the large forms with distinguished success. The Thomas Orchestra has performed a number of his works, which is an excellent praise, because Thomas, who has done so much for American audiences, has worried himself little about the American composer. At the World's Fair, which was, in some ways, the artistic birthday of Chicago, and possibly the most important artistic event in our national history, some of Gleason's works were performed by Thomas' organization, among them the _Vorspiel_ to an opera, "Otho Visconti" (op. 7), for which Gleason wrote both words and music.

[Ill.u.s.tration: FREDERIC GRANT GLEASON.]

This _Vorspiel_, like that to "Lohengrin," is short and delicate. It begins ravis.h.i.+ngly with flutes and clarinets and four violins, pianissimo, followed by a blare of bra.s.s. After this introductory period the work runs through tenderly contemplative musing to the end, in which, again, the only strings are the four violins, though here they are accompanied by the bra.s.s and wood-winds and tympani, the cymbals being gently tapped with drumsticks. The introduction to the third act of the opera is more lyrical, but not so fine. Another opera is "Montezuma" (op. 16). Gleason is again his own librettist. Of this opera I have been privileged to see the complete piano score, and much of the orchestral.

[Music: Montezuma, Act III, Introduction

Frederic Grant Gleason

EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.]

In the first act Guatemozin, who has been exiled by Montezuma, appears disguised as an ancient minstrel and sings prophetically of the coming of a G.o.d of peace and love to supplant the terrible idol that demands human sacrifice. This superbly written aria provokes from the terrified idolaters a chorus of fear and reproach that is strongly effective. The next act begins with an elaborate aria followed by a love duet of much beauty. A heavily scored priests' march is one of the chief numbers, and like most marches written by the unco'

learned, it is a grain of martial melody in a bushel of trumpet figures and preparation. The Wagnerian _leit-motif_ idea is adopted in this and other works of his, and the chief objection to his writing is its too great fidelity to the Wagnerian manner,--notably in the use of suspensions and pa.s.sing-notes,--otherwise he is a very powerful harmonist and an instrumenter of rare sophistication. A soprano aria with orchestral accompaniment has been taken from the opera and sung in concert with strong effect.

Another work played at the World's Fair by Thomas, is a "Processional of the Holy Grail." It is scored elaborately, but is rather brilliant than large. It complimentarily introduces a hint or two of Wagner's Grail motif.

The symphonic poem, "Edris," was also performed by the Thomas Orchestra. It is based upon Marie Corelli's novel, "Ardath," which gives opportunity for much programmism, but of a mystical highly colored sort for which music is especially competent. It makes use of a number of remarkably beautiful motives. One effect much commented upon was a succession of fifths in the ba.s.s, used legitimately enough to express a dreariness of earth.

This provoked from that conservative of conservatives, the music copyist, a patronizing annotation, "Quinten!" to which Gleason added "Gewiss!" A series of augmented triads, smoothly manipulated, was another curiosity of the score.

Possibly Gleason's happiest work is his exquisite music for that most exquisite of American poems, "The Culprit Fay." It is described in detail in Upton's "Standard Cantatas," and liberally quoted from in Goodrich' "Musical a.n.a.lysis." While I have seen both the piano and orchestral scores of this work (op. 15), and have seen much beauty in them, my s.p.a.ce compels me to refer the curious reader to either of these most recommendable books.

Gleason has had an unusual schooling. He was born in Middletown, Conn., in 1848. His parents were musical, and when at sixteen he wrote a small matter of two oratorios without previous instruction, they put him to study under Dudley Buck. From his tuition he graduated to Germany, and to such teachers as Moscheles, Richter, Plaidy, Lobe, Raif, Taussig, and Weitzmann. He studied in England after that, and returned again to Germany. When he re-appeared in America he remained a while at Hartford, Conn., whence he went to Chicago in 1876. He has lived there since, working at teaching and composition, and acting as musical critic of the Chicago _Tribune_. An unusually gifted body of critics, dramatic, musical, and literary, has worked upon the Chicago newspapers, and Gleason has been prominent among them.

Among other important compositions of his are a symphonic cantata, "The Auditorium Festival Ode," sung at the dedication of the Chicago Auditorium by a chorus of five hundred; sketches for orchestra, a piano concerto, organ music, and songs.

As is shown by the two or three vocal works of his that I have seen, Gleason is less successful as a melodist than as a harmonist. But in this latter capacity he is gifted indeed, and is peculiarly fitted to furnish forth with music Ebling's "Lobgesang auf die Harmonie." In his setting of this poem he has used a soprano and a barytone solo with male chorus and orchestra. The harmonic structure throughout is superb in all the various virtues ascribed to harmony. The ending is magnificent.

[Ill.u.s.tration: WILLIAM H. SHERWOOD.]

A work completed December, 1899, for production by the Thomas Orchestra, is a symphonic poem called "The Song of Life," with this motto from Swinburne:

"They have the night, who had, like us, the day; We whom the day binds shall have night as they; We, from the fetters of the light unbound, Healed of our wound of living, shall sleep sound."

The first prominent musician to give a certain portion of his program regularly to the American composer, was William H. Sherwood. This recognition from so distinguished a performer could not but interest many who had previously turned a deaf ear to all the musical efforts of the Eagle. In addition to playing their piano works, he has transcribed numerous of their orchestral works to the piano, and played them. In short, he has been so indefatigable a laborer for the cause of other American composers, that he has found little time to write his own ideas.

Sherwood will be chiefly remembered as a pianist, but he has written a certain amount of music of an excellent quality. Opera 1-4 were published abroad. Opus 5 is a suite, the second number of which is an "Idylle" that deserves its name. It is as blissfully clear and ringing as anything could well be, and drips with a Theokritan honey. The third number of the suite is called "Greetings." It has only one or two unusual touches. Number 4 bears the suggestive t.i.tle, "Regrets for the Pianoforte." It was possibly written after some of his less promising pupils had finished a lesson. The last number of the suite is a quaint Novelette.

[Music: IDYLLE.

WM. H. SHERWOOD, OP. 5, NO. 2.

Copyright, 1883, by G. Schirmer.

A FRAGMENT.]

Sherwood's sixth opus is made up of a brace of mazurkas. The former, in C minor, contains some of his best work. It is original and moody, and ends strongly. The second, in A major, is still better. It not only keeps up a high standard throughout, but shows occasional touches of the most fascinating art.

A scherzo (op. 7) cracks a few good jokes, but is mostly elaboration.

Opus 8 is a fiery romanza appa.s.sionata. Opus 9 is a Scherzo-Caprice.

This is probably his best work. It is dedicated to Liszt, and though extremely brilliant, is full of meaning. It has an interlude of tender romance. "Coy Maiden" is a graceful thing, but hardly deserves the punishment of so horrible a name. "A Gypsy Dance" is too long, but it is of good material. It has an interesting metre, three-quarter time with the first note dotted. There is a good effect gained by sustaining certain notes over several measures, though few pianists get a real sostenuto. An "Allegro Patetico" (op. 12), "Medea" (op.

13), and a set of small pieces (one of them a burlesque called "A Caudle Lecture," with a garrulous "said she" and a somnolent "said he") make up his rather short list of compositions.

Sherwood was born at Lyons, New York, of good American stock. His father was his teacher until the age of seventeen, when he studied with Heimberger, Pychowski, and Dr. William Mason. He studied in Europe with Kullak and Deppe, Scotson Clark, Weitzmann, Doppler, Wuerst, and Richter. He was for a time organist in Stuttgart and later in Berlin. He was one of those favorite pupils of Liszt, and played in concerts abroad with remarkable success, winning at the age of eighteen high critical enthusiasm. He has been more cordially recognized abroad than here, but is a.s.suredly one of the greatest living pianists. It is fortunate that his patriotism keeps him at home, where he is needed in the constant battle against the indecencies of apathy and Philistinism.

The Yankee spirit of constructive irreverence extends to music, and in recent years a number of unusually modern-minded theorists have worked at the very foundations: Dr. Percy Goetschius (born here, and for long a teacher at Stuttgart); O.B. Boise (born here, and teaching now in Berlin); Edwin Bruce, the author of a very radical work; Homer A.

Norris; and last, and first, A.J. Goodrich, who has made himself one of the most advanced of living writers on the theory of music, and has made so large a contribution to the solidity of our attainments, that he is recognized among scholars abroad as one of the leading spirits of his time. His success is the more pleasing since he was not only born but educated in this country.

[Ill.u.s.tration: A.J. GOODRICH.]

The town of Chilo, Ohio, was Goodrich' birthplace. He was born there in 1847, of American parentage. His father taught him the rudiments of music and the piano for one year, after which he became his own teacher. He has had both a thorough and an independent instructor. The fact that he has been enabled to follow his own conscience without danger of being convinced into error by the prestige of some influential master, is doubtless to be credited with much of the novelty and courage of his work.

His most important book is undoubtedly his "a.n.a.lytical Harmony,"

though his "Musical a.n.a.lysis" and other works are serious and important. This is not the place to discuss his technicalities, but one must mention the real bravery it took to discard the old practice of a figured ba.s.s, and to attack many of the theoretical fetiches without hesitation. Almost all of the old theorists have confessed, usually in a foot-note to the preface or in modest disclaimer lost somewhere in the book, that the great masters would occasionally be found violating certain of their rules. But this did not lead them to deducing their rules from the great masters. Goodrich, however, has, in this matter, begun where Marx ended, and has gone further even than Prout. He has gone to melody as the groundwork of his harmonic system, and to the practice of great masters, old and new, for the tests of all his theories. The result is a book which can be unreservedly commended for self-instruction to the ignorant and to the too learned.

It is to be followed by a book on "Synthetic Counterpoint," of which Goodrich says, "It is almost totally at variance with the standard books in counterpoint."

In his "Musical a.n.a.lysis" he quoted freely from American composers, and a.n.a.lyzed many important native works. He has carried out this plan also in his book on "Interpretation," a work aiming to bring more definiteness into the fields of performance and terminology.

Goodrich' composition is "a thing of the past," he says. In his youth he wrote a score or more of fugues, two string quartettes, a trio that was played in New York and Chicago, a sonata, two concert overtures, a hymn for soprano (in English), invisible chorus (in Latin), and orchestra, a volume of songs, and numerous piano pieces. He writes: "In truth, I believed at one time that I was a real composer, but after listening to Tschakowski's Fifth Symphony that illusion was dispelled. Had not Mrs. Goodrich rescued from the flames a few MSS. I would have destroyed every note."

Only a piano suite is left, and this leads one to regret that Tschakowski should have served as a deterrent instead of an inspiration. The suite has an inelaborate prelude, which begins strongly and ends gracefully, showing unusual handling throughout. A minuet, taken scherzando, is also most original and happy. There is a quaint sarabande, and a gavotte written on simple lines, but superbly.

Its musette is simply captivating. All these little pieces indeed show sterling originality and unusual resources in a small compa.s.s.