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BEETHOVEN 1806
 AMS Studies in Music

W. Anthony Sheppard, General Editor

Editorial Board

Celia Applegate Kevin E. Korsyn

Anna Maria Busse Berger Roberta Montemorra Marvin
Scott K. DeVeaux Nicholas Mathew
Claire Fontijn Inna Naroditskaya
Charles H. Garrett Nancy Yunhwa Rao
Christine Getz Susan R. Thomas
Wendy Heller
Conceptualizing Music:
Cognitive Structure, Theory, and Analysis
Lawrence Zbikowski
Inventing the Business of Opera:
The Impresario and His World in Seventeenth-​Century Venice
Beth L. Glixon and Jonathan Glixon
Lateness and Brahms:
Music and Culture in the Twilight of Viennese Liberalism
Margaret Notley
The Critical Nexus:
Tone-​System, Mode, and Notation in Early Medieval Music
Charles M. Atkinson
Music, Criticism, and the Challenge of History:
Shaping Modern Musical Thought in Late Nineteenth-​Century Vienna
Kevin C. Karnes
Jewish Music and Modernity
Philip V. Bohlman
Changing the Score:
Arias, Prima Donnas, and the Authority of Performance
Hilary Poriss
Rasa:
Affect and Intuition in Javanese Musical Aesthetics
Marc Benamou
Josquin’s Rome:
Hearing and Composing in the Sistine Chapel
Jesse Rodin
Details of Consequence:
Ornament, Music, and Art in Paris
Gurminder Kaur Bhogal
Sounding Authentic:
The Rural Miniature and Musical Modernism
Joshua S.Walden
Brahms Among Friends:
Listening, Performance, and the Rhetoric of Allusion
Paul Berry
Opera for the People:
English-​Language Opera and Women Managers in Late 19th-​Century America
Katherine K. Preston
Beethoven 1806
Mark Ferraguto
BEETHOVEN 1806

Mark Ferraguto

1
 1
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Library of Congress Cataloging-​in-​Publication Data

Names: Ferraguto, Mark, author.
Title: Beethoven 1806 /​Mark Ferraguto.
Description: New York, NY : Oxford University Press, [2019] |
Series: AMS studies in music | Includes bibliographical references and index.
Identifiers: LCCN 2019002769 | ISBN 9780190947187 (hardcover : alk. paper) |
ISBN 9780190947200 (epub)
Subjects: LCSH: Beethoven, Ludwig van, 1770-​1827—​Criticism and
interpretation. | Music—​19th century—​History and criticism.
Classification: LCC ML410. B42 F4 2019 | DDC 780.92 [B]‌—​dc23
LC record available at https://​lccn.loc.gov/​2019002769

1 3 5 7 9 8 6 4 2
Printed by Integrated Books International, United States of America
For Lisa
 Contents

List of Figures ix
List of Tables xv
List of Music Examples xi
List of Appendices xvii
Acknowledgments xix
List of Abbreviations xxi

Introduction 1
1 After Leonore 17
2 Music for a Virtuoso: Opuses 58 and 61 47
3 Music for a Diplomat: Opus 59 70
4 Music for a Culture Hero: Opus 60 113
5 Music for a French Piano: WoO 80 148
6 Music for a Playwright: Opus 62 177
Conclusion: “Everyday” Beethoven 207

Works Cited 211

Index 233

vii
 Figures

I.1 Ludwig van Beethoven (1804). Portrait by Joseph Willibrord Mähler

(1778–​1860). Photo: Rudolf Stepanek. Beethoven-​Haus Bonn. 5
1.1 Faniska, from Wiener Hof-​Theater Taschenbuch auf das Jahr 1807,Vierter
Jahrgang (Vienna: Joh. Bapt. Wallishausser, 1808). Division of Rare and
Manuscript Collections, Cornell University Library. 24
1.2 Fidelio, from Wiener Hof-​Theater Taschenbuch auf das Jahr 1815, Zwölfter
Jahrgang (Vienna: J. B. Wallishausser, 1815). Division of Rare and
Manuscript Collections, Cornell University Library. 25
1.3 Harmonic rhythm in Beethoven, Symphony No. 4, i, mm. 187–​334. 39
1.4 Prolonged harmonies in Beethoven, Symphony No. 4, i, development,
showing functional reinterpretations. 40
3.1 Le Russe prenant une Leçon de Grace à Paris. Paris: Paul André Basset,
1815. Anne S. K. Brown Military Collection, Brown University Library. 98
3.2 Count Andrey Kyrillovich Razumovsky (1776). Portrait by Alexander
Roslin. National Gallery of Victoria, Melbourne. Everard Studley
Miller Bequest, 1962. 101
3.3 Palais du Prince Rasoumovsky. [Vienna]: Maria Geissler, [1812?]. Ira
F. Brilliant Center for Beethoven Studies, San José State University. 101
4.1 “Sun of German Composers.” Engraving by A. F. C. Kollmann.
Reprinted in “Anekdote,” Allgemeine musikalische Zeitung 2, no. 5
(October 30, 1799), cols. 102–​4, 104. 118
4.2 Cover pages with title vignettes showing Haydn and Mozart,
Allgemeine musikalische Zeitung 7 (1804–​5) and 8 (1805–​6). 120
4.3 Joseph Haydn (1806). Portrait by Isidor Neugass. Photo: Gerhard
Wasserbauer,Vienna. Esterhazy Privatstiftung, Eisenstadt Palace. 122
4.4 Ludwig van Beethoven (1806). Portrait by Isidor Neugass. Fassung
Lichnowsky. Beethoven-​Haus Bonn. 122
6.1 Design for Heinrich von Collin’s funeral monument by Heinrich
Friedrich Füger. Frontispiece to Moritz von Dietrichstein, Ueber das
Denkmahl des k. k. Hofrathes und Ritters des Leopold-​Ordens, Heinrich
Joseph Edlen von Collin (Vienna: Anton Strauß, 1813). Bayerische
Staatsbibliothek München. 179

ix
x List of Figures
6.2 “Veturia,” from Heroines of History (1530–​62). Engraving by Virgil Solis.
The British Museum. 194
6.3 Coriolan et Véturie, ou le respect filial (1790). Engraving by Jean-​Jacques
Avril after a painting by Jean-​Jacques François Le Barbier. The British
Museum. 196
6.4 Veturia fordert Coriolan auf, die Stadt zu verschonen (1809). Engraving by
Vincenz Georg Kininger after a painting by Heinrich Friedrich Füger.
Österreichische Nationalbibliothek. 197
 Music Examples

I.1 Beethoven, Piano Concerto No. 4 in G Major, Op. 58, i, m. 1, first

edition (Vienna: Bureau des Arts et d’Industrie, 1808). 4
I.2 Beethoven, Piano Concerto No. 4 in G Major, Op. 58, i, m. 1,
according to Czerny. 6
2.1 Parallel Appearances of the “Expressive” Topic. 64
a. Beethoven,Violin Concerto in D Major, Op. 61, i, mm. 297–​304
b. Beethoven, Piano Concerto No. 4 in G Major, Op. 58, i, mm. 228–​34
2.2 Beethoven, Piano Concerto No. 4 in G Major, Op. 58, i, mm. 226–​31,
published solo part versus sketched variant. 68
3.1 “Ah, Whether It’s My Luck, Such Luck” (Akh! talan li moi, talan
takoi), in Lvov-​Pratsch Collection (LPC), 1806. 72
3.2 Beethoven, String Quartet No. 7 in F Major,
Op. 59, no. 1, iv, mm. 1–​19. 78
3.3 Derivation of fugato theme from Thème russe (mm. 267–​84). 80
a. Thème russe (mm. 1–​8)
b. Fugato theme (mm. 267–​70, transposed for ease of comparison)
c. Fugato (mm. 266–​84), showing contrapuntal combinations
of x and y
3.4 Derivation of secondary theme from Thème russe countermelody
(mm. 45–​61). 82
a. Thème russe countermelody, mm. 1–​8
b. New four-​bar antecedent phrase
c. Secondary theme (mm. 45–​61), in both major-​and minor-​mode
versions; Beethoven places the latter in free canon
3.5 Reharmonizations of Thème russe in Recapitulation and Coda. 84
a. Recapitulation, showing newly harmonized Thème russe,
beginning and ending on subdominant, with E-​flat (modal?)
melodic alteration
b. Coda, showing final iteration of Thème russe, now in the tonic key
and fading to ppp
3.6 Mozart, Symphony No. 41 in C Major (“Jupiter”), K. 551, iv, mm.
233–​55. 90

xi
xii List of Music Examples
3.7 Beethoven’s Quotation of “Singe, sing’ein Lied” in Op. 59,
no. 3, ii. 107
a. “Singe, sing’ein Lied” (Ty wospoi, wospoi, mlad Shaworontschek),
as it appears in the Allgemeine musikalische Zeitung (July 25, 1804).
b. “Singe, sing’ein Lied,” mm. 1–​2, displaced by one beat.
c. Beethoven, String Quartet No. 9 in C Major, Op. 59, no. 3, ii,
mm. 1–​5.
4.1 Comparison of first-​movement retransition sections. 125
a. Haydn, Symphony No. 102 in B-​flat Major, Hob. I:102
(Paris: Ignaz Pleyel, 1803)
b. Beethoven, Symphony No. 4 in B-​flat Major, Op. 60
(Bonn: N. Simrock, 1823)
4.2 Comparison of opening themes. 130
a. Haydn, Symphony No. 102 in B-​flat Major, Hob. I:102
(Paris: Ignaz Pleyel, 1803)
b. Beethoven, Symphony No. 4 in B-​flat Major, Op. 60
(Bonn: N. Simrock, 1823)
4.3 Onset of transition. 136
a. Haydn, Symphony No. 102, iv, mm. 37–​45
b. Beethoven, Symphony No. 4, iv, mm. 24–​32 (cf. 192–​210)
4.4 Auxiliary idea in S-​Space. 137
a. Haydn, Symphony No. 102, iv, mm. 78–​85 (cf. 234–​41)
b. Beethoven, Symphony No. 4, iv, mm. 42–​9 (cf. 230–​9)
4.5 Closing (postcadential) idea. 138
a. Haydn, Symphony No. 102, iv, mm. 110–​17 (cf. 298–​305)
b. Beethoven, Symphony No. 4, iv, mm. 88–​95 (cf. 266–​73) 138
4.6 “Crisis” in developmental space. 139
a. Haydn, Symphony No. 102, iv, mm. 165–​74
(cf. 86–​9, 242–​5, 286–​9)
b. Beethoven, Symphony No. 4, iv, mm. 169–​76
(cf. 64–​77, 242–​8, 290–​4)
4.7 Retransition. 140
a. Haydn, Symphony No. 102, iv, mm. 208–​17 (cf. 181–​8)
b. Beethoven, Symphony No. 4, iv, mm. 181–​9 (cf. 290–​9)
4.8 “Joke” in coda space. 141
a. Haydn, Symphony No. 102, iv, mm. 272–​85
b. Beethoven, Symphony No. 4, iv, mm. 345–​55
5.1a Johann Baptist Cramer, Étude pour le piano forte en quarante deux
exercises dans les differents tons (Paris: Erard, 1804), No. 18. 158
5.1b Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), No. 8. 159
 List of Music Examples xiii
5.2a Johann Baptist Cramer, Étude pour le piano forte en quarante deux
exercises dans les differents tons (Paris: Erard, 1804), No. 19. 159
5.2b Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), No. 20. 160
5.3a Daniel Steibelt, Étude pour le pianoforte contenant 50 exercices de différents
genres (Leipzig: Breitkopf & Härtel, 1805), No. 22. 160
5.3b Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), No. 22. 161
5.4 Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), Coda (mm. 275–​80). 162
5.5 Beethoven, Sonata No. 23 in F Minor, Op. 57 (“Appassionata”)
(Vienna: Bureau des Arts et d’Industrie, 1807), iii, Coda (mm. 325–​61). 166
5.6a Beethoven, Piano Concerto No. 4 in G Major, Op. 58
(Vienna: Bureau des Arts et d’Industrie, 1808), i, mm. 104–​7. 169
5.6b Beethoven, Piano Concerto No. 4 in G Major, Op. 58
(Vienna: Bureau des Arts et d’Industrie, 1808), i, mm. 275–​9. 169
5.7 Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), Theme. 170
5.8 Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), No. 3. 171
5.9 Beethoven, Thirty-​Two Variations on an Original Theme, WoO 80
(Vienna: Bureau des Arts et d’Industrie, 1807), End of No. 31 through
Start of Coda (mm. 256–​67). 173
Other documents randomly have
different content
romantic influence, and find their chief expression in his symphony,
'In Autumn Time,' which has been produced by the San Francisco
Symphony Orchestra, under Henry Hadley's direction. His music is
strongly melodic, an infrequent modern characteristic, warm in
emotional quality and of well-balanced and rounded formal
construction, though little touched by ultra-modernism. Of a number
of songs 'The Deep Sea Pearl' may be singled out for its quality of
haunting beauty, and a setting of Tennyson's 'Eagle' for descriptive
power. A 'Romantic Fantasy' and 'Midwinter Idyl,' both for violin and
piano, are extremely melodious, and show a sympathetic
management of violin writing.

Another San Francisco composer of notable ability is Wallace Sabin,

who composed the music for the Bohemian Club Grove Play of 1909,
'St. Patrick at Tara,' the text by H. Morse Stephens. This, one of the
most famous 'Jinks,' won high favor, and the music, if not striking in
originality, was dignified and of firm texture, and carried out
admirably the Celtic musical idiom. A wild Irish revel, in the form of a
jig, was one of its most striking features, and of much solidity and
breadth was the processional chorus at the entrance of the King of
Leinster with his retainers. Sabin has written much music for the
church.

Herman Perlet, another of the San Francisco group, wrote the music
for the Grove Play of 1913, 'The Fall of Ug,' text by Rufus Steele.
The themes show a considerable power of characterization and a
lively and elastic rhythmic sense. Perlet's tone-poem 'Mount
Tamalpais,' was heard, under the composer's direction, in San
Francisco in June, 1912, and called forth warm praise from the critic
of the 'Call.' While not an avowed nationalist or 'aboriginalist,' he has
based this work upon a theme of the Lake County Indians. A
'Symphonic Suite' and a 'Symphonie Spirituelle' are of more recent
date.

Edward G. Stricklen is one of the younger San Franciscans, and is

regarded as a composer of ability and promise. The music for 'The
Green Knight,' text by Porter Garnett, the 'Jinks' of 1911, is his
contribution to the art achievement of the Bohemain Club. It is
music of distinguished imaginative character and much freshness of
inspiration, showing the rich modern harmonic texture which
characterizes the younger school of American composers. Stricklen is
also the composer of the first 'Parthenia,' the annual festival
expressing the passage from girlhood to womanhood, inaugurated
by the women students at the University of California.

Theodore Vogt and Arthur Weiss should be mentioned in connection

with the San Francisco group, the composers of the 'Jinks' of 1905
and 1908, respectively, 'The Quest of the Gorgon' and 'The Sons of
Baldur'; and also Joseph D. Redding, the composer of the first 'Jinks'
known as a 'Grove Play,' which was entitled 'The Man in the Forest,'
and was produced in 1902. John Harradan Pratt, of San Francisco,
has composed, among other works, a trio for pianoforte and strings,
which, if conservative, shows genuine classical ideals and
considerable charm.

Nathaniel Clifford Page (b. 1866), at one time associated with the
San Francisco group, but who later removed to the East, is a
composer of a high order of musicianship. He has an early opera,
'The First Lieutenant,' produced in San Francisco in 1889, as well as
two later operas, and has written much incidental and entr'acte
music for plays. An orchestral 'Caprice' is an astonishing display of
orchestral and contrapuntal ingenuity, and his part song on lines
from the opening of Keats' 'Endymion' shows a highly refined sense
of beauty.

There are many American composers of the younger generation, or,

if somewhat older, too infrequently heard, who have shown a greater
or less degree of creative capacity along the line of the ideals
considered in the present chapter, but of whom it is too early to
predict the nature or possible height of their promised achievements.
Henry Lang, of Philadelphia, took the first prize in the chamber
music class of the prize competition of the National Federation of
Musical Clubs in 1911, with a trio for piano and strings, in E major.
Henry V. Stearnes, with a very melodious trio in D minor, took the
second prize in this class at the same competition. Stanley R. Avery,
of Minneapolis, has written a considerable number of songs showing
fancy and charm, among them 'When Hazel Comes,' 'There's a
Sunny Path,' 'The Shepherdess,' an Easter song called 'The Dawn of
Life,' 'On a Balcony,' a graceful song with a warmly emotional climax,
and an 'Esquimo Love Song' of curiously chilly atmosphere. He has
written also part songs and church music. Arthur Olaf Anderson, of
Chicago, who has also written many charming songs, is a purist in
his art, gaining exquisite effects with great simplicity and lucidity.
Among his songs are 'May-time,' 'Roses,' In verschwiegener Nacht,
and 'Mother Mine.' He is the composer of two pianoforte sonatas,
several short suites and pieces for large and small orchestra, and a
number of mixed male and female choruses. Chester Ide, of
Springfield, Ill., is a composer of delicate poetic fancy who often
shows an unusually poignant sense of beauty. He has written suites
for orchestra, vocal works with orchestra, songs, and piano pieces.
The songs 'Lovers of the Wild' and 'Names,' on poems by Stevenson
and Coleridge, reveal grace and buoyancy of inspiration, and a waltz,
'To Margaret,' gains a singular intensity of dreaminess with the
simplest of means. Albert Elkus, of Sacramento, Cal., has written
piano pieces showing individuality. Cecil Burleigh is a composer of
exceptional promise, who devotes himself chiefly to the violin. His
'Eight Characteristic Pieces' (opus 6) for that instrument are
musicianly, well felt, and fanciful, though not showing the character
revealed in his later work. The 'Rocky Mountain Sketches' and
'Twelve Short Poems,' also for violin and piano, show a very great
advance in imaginative quality, as does also a set of five 'Indian
Sketches.' A recent violin and piano sonata, entitled 'Ascension,' is
his most ambitious work. Christian Kriens, of Hollandish birth, has
written felicitously in various forms. A number of solos for violin and
'cello, with piano accompaniment, show him as a fertile melodist.
One of the former, 'Summer Evening,' is a simple mood of
considerable loveliness. A composer of piquant and charming
individuality is Charles Fonteyn Manney (b. 1872), of Boston, who
has written many excellent songs, 'Orpheus with His Lute' being
perhaps the best known. Frederick Fleming Beale, of Seattle, has
shown originality and noteworthy poetic quality as a song writer. J.
Homer Grunn, located at Phœnix, Ariz., has embodied impressions of
the 'land of little rain' in a pianoforte suite, 'Impressions of the
Desert,' and has written a Marche Héroïque for two pianos, 'Concert
Studies,' and 'Garden Pieces.'

Edmund Severn (b. 1862, in England) has given himself extensively

to composition for the violin. His concerto for that instrument in D
minor is on broadly melodic lines, is, on the whole, conservative, but
makes occasional excursions into whole-tone scale effects. A suite
for violin and piano, 'From Old New England,' draws upon old tunes
and ballads of that region for its thematic material, though scarcely
constituting the composer a nationalist. Its movements, 'Pastoral
Romance,' 'Rustic Scherzo,' 'Lament,' and 'Kitchen Dance,' are
excellent violin writing, and show humor and a sprightly fancy. There
is also a sonata for violin and piano and a symphonic poem,
'Launcelot and Elaine,' which has been heard at the Worcester,
Mass., festivals.

Certain American composers of distinguished attainments in the

sphere of romantic and neo-classic ideals have preferred to spend
their lives in Europe, with the result that their work is little known at
home. Among these Arthur Bird (b. 1856) is known as the possessor
of a fertile and truly musical imagination and a thorough technique.
He has composed a symphony, suites, and a 'Carnival,' for orchestra;
a ballet, Rübezahl; an opera, 'Daphne'; and various works for piano
and organ. His decimet for wind instruments won the Paderewski
prize for chamber music in 1902. Bird is a musician of German
training and French sympathies and calls himself a 'conditional
modernist.' He makes his home in Berlin, where he studied under
Haupt, Loeschhorn and Urban. Earlier in his career he spent two
years with Liszt at Weimar. In 1886 Bird was the conductor of the
Milwaukee Musical Festival. Another of the expatriated is Bertram
Shapleigh, who has adopted England as his home. His output is
enormous and comprises works in many forms, among them
orchestral works, cantatas, and choruses, and violin and 'cello solos,
though songs constitute by far the greater part of his music. For
orchestra he has a 'Ramayana' suite and four symphonic sketches,
Gur Amir.

VIII
The classical tendency, by which is commonly meant the impulse to
compose in the 'cyclic' forms, is seldom manifested by women
composers, for reasons which have been variously explained, or for
which explanation has been attempted. Whatever the true reason
may be, it is, in fact, wholly on the side of romanticism, with the
possible exception of literary tendencies in the choice of poems for
songs, that all the women composers coming within the scope of
this chapter are found. One of the most gifted of these is Mabel
Daniels (b. 1878), who has the distinction of having won both prizes
offered for women composers in the competition of the National
Federation of Musical Clubs for 1911, the first with a song for
soprano, 'Villa of Dreams,' poem by Arthur Symons, and the second
with two three-part songs for women's voices with accompaniment
of pianoforte and two violins, 'Eastern Song,' the author of the text
not stated, and 'The Voice of My Beloved,' the text selected from the
'Song of Solomon.' 'Villa of Dreams' is a broadly conceived aria,
essentially melodious, and harmonically modern in the general sense
of being free in modulatory treatment, without crossing the border
line of ultra-modern chord effects. It is fluent in inspiration and
authentically poetic. Miss Daniels' most significant work is a poem
for baritone and orchestra. 'The Desolate City' (W. S. Blunt),
produced at the Peterborough festival in 1913, and later by the
Chicago orchestra in Syracuse, the composer conducting. 'Love,
When I Sleep,' on original verses which show the composer to have
a marked poetic gift, from three 'Songs of Damascus,' is notable for
its melodic warmth. A 'Fairy Scherzo' for orchestra was conducted by
the composer at the MacDowell Festival at Peterborough, N. H., in
August, 1914.

Widely known through her irresistibly lilting 'Boat Song,' Harriet

Ware, through many songs of exquisite character, has taken her
place as one of the most prominent women composers of America.
Her work has assumed a thoroughly modern character, is highly
refined in feeling and often subtle in its expressiveness. Among her
songs one of the best is 'The Call of Râdha,' which contrasts with
poignancy the worlds of sense and spirit. 'The Forgotten Land,'
another song which takes high rank, shows a considerable chromatic
harmonic fluency, and paints an exquisite tone-picture of a far-away
world. 'Rose Moral' has much simple beauty, 'To Lucasta' fine
contrasts of mood, and 'My Love is a Rider' is very bold and poetic. A
true ecstasy lives in 'Joy of the Morning,' and 'The Last Dance' is rich
and warm in sentiment throughout.

Few composers of America, of either sex, have surpassed in quality

of spiritual beauty and refinement some of the songs of Gertrude
Norman Smith, who commands regions of inspiration to which only a
few rare souls have access. One studies and regards with keenest
admiration such exquisite and deeply felt inspirations as 'From Afar
in the Night,' with its restful motion; 'The Golden Birch,' so
melodically beautiful and sensitive in harmony; the somewhat
Schubertesque but quaintly charming 'In the Cloister Garden'; the
joyously lilting 'In the Vale of Llangollen,' on Arthur Symons' poem;
and the mood-heavy and passionate song on the same poet's 'Rain
on the Down.'

An extraordinary record is that of Eleanor Everest Freer, of Chicago,

who has, in a large number of songs, well-nigh summed up the
whole range of the best in English and American lyrical literature,
having drawn upon upward of sixty of the greatest poets in the
language for her texts. Her opus 22, alone, consists of settings of
the entire fourty-four 'Sonnets from the Portuguese,' of Elizabeth
Barrett Browning. Her music presents the wide variety of
expressiveness which such a task would of necessity demand, but,
despite the interesting character of much of this music, it may be
conceived that a richer musical texture would have been gained by a
higher concentration upon a lesser output. The music shows French
influence and is laudable for its freedom from the outworn
conventions of Germanic tradition.

A melodist of much spontaneity and charm is Celeste Heckscher,

who has written a considerable number of songs and piano pieces of
appealing lyrical quality, as well as an orchestral suite, 'Dances of the
Pyrenees,' which has been very successfully performed at the
concerts of the Philadelphia Symphony Orchestra and elsewhere.
Among the songs 'Music of Hungary' is characteristic and bold;
'Serenade' is melodically ingratiating; and 'Pastoral Lullaby,' on a
melody from the orchestral suite, has a haunting melodic outline and
charm of mood. A 'Romance' for 'cello is simple and effective,
affording a good opportunity for developing tonal breadth.

Clara A. Korn, ranked by Rupert Hughes as a composer of 'works of

serious intention and worthy art,' has written a considerable number
of piano pieces in the smaller forms, including a suite, 'Rural
Snapshots,' an album of 'Nine Songs,' and for violin and piano a
suite, 'Modern Dances,' and an Air de Ballet.

With characteristic Western enterprise Mary Carr Moore, of Seattle,

composed, produced, and conducted a grand opera, 'Narcissa,' text
by Sarah Pratt Carr, in that city in 1912 with pronounced success.
The text is based on a romantic episode of local history. Mrs. Moore
is the composer of many charming songs.

A complete list of American women composers would be of

astonishing length, and beyond the scope of the present work. Helen
Hopekirk, of Boston, should be mentioned, who has contributed to
song and pianoforte literature much of worth, of beauty and charm,
not untouched in its imaginative quality by the composer's Celtic
derivation. Fannie Dillon, of Los Angeles, in a number of piano
compositions, shows emotional and imaginative force, and a
geometrical handling of ideas and grasp of harmonic construction
having an almost masculine character. She has given a musical
setting to Browning's 'Saul.' Mary Turner Salter (b. in 1856) is widely
known for songs of much fineness of spirit and humanity of appeal.
Amy Woodford Finden's setting of Lawrence Hope's 'Indian Love
Lyrics' have enjoyed a very wide popularity. Lola Carrier Worrell is
the composer of many pleasant songs. A peculiar depth and
authenticity of mood lurks in several songs of not very formidable
technical construction by Katherine Ruth Heyman. Charming songs
have been written by Alicia Van Buren, Virginia Roper, Louise Drake
Wright, Alice Getty, and Caroline Holme Walker.

A. F.
 CHAPTER XIV
NATIONALISTS, ECLECTICS, AND ULTRA-MODERNS

The new spirit and its various manifestations—Henry F. Gilbert,

Arthur Farwell, Harvey W. Loomis—Frederic Ayres, Arthur
Shepherd, Noble Kreider, Benjamin Lambord—Campbell-Tipton;
Arthur Nevin; C. W. Cadman; J. A. Carpenter; T. C. Whitmer—W.
H. Humiston, John Powell, Blair Fairchild, Maurice Arnold—Sidney
Homer; Clough-Leighter, and others—Charles M. Loeffler and
other Americans of foreign birth or residence.

With the struggle toward national musical individuality on the part of

the different nations of Europe, especially with the achievements of
modern France, and with the development of the internal aboriginal
musical resources of America, the creative musical life of the United
States took on an entirely new aspect. While the influences which
shaped the romantic and neo-classic epoch did not cease, they
became greatly modified. The ideals of that epoch yielded to new
issues, and the general forward movement was divided into two
camps, one seeking a national individuality for American music and
the other a continuation of the most recent European developments,
especially those of France and post-Wagnerian Germany. Neither of
these two movements was destined eventually to dominate the field.
The promoters of neither movement were wholly convinced or
wholly single-minded. The so-called 'Nationalists' experimented to
some extent with the ultra-modern technical developments, and the
ultra-moderns could not refrain from some essays with primitive
American themes. It was inevitable that a broad eclecticism should
arise, and in this a more truly national movement stepped forth than
was presented by either of the existing wings. The will for the
greatest freedom, essential to the American spirit, asserted itself,
and in its newest phase the nation is declaring for a complete
musical independence, based upon the unrestricted assimilation and
reflection of every phase of musical influence, within and without.

I
No American composer stands forth with a more sharply defined
individuality than Henry F. Gilbert, and none has given himself with
greater ardor to the accomplishment of something truly American in
musical art. The ultimate stature of an artist finds a certain measure
of adumbration in the absorptive and impressionable capacity of his
early years. With Gilbert this capacity was exceptionally large and
sensitive. As a mere boy in his teens he had an insatiable curiosity
concerning every discoverable phase of the world's music, and at
that age, while America was still in the throes of the Wagner
controversy, he was thoroughly familiar with the music of the entire
group of now famous French, Russian, Bohemian, and other
composers, whose names at that time were wholly unknown on this
side of the water, and comparatively little known at home. At the
same time he gained an authoritative knowledge of the folk-songs of
the world, and made extensive studies into remote aspects of the
world's literature. Gilbert was born in Somerville, Mass., in 1868, and
studied for a time with MacDowell, in Boston, but he never had
much academic training. Concerning his formative influences, the
composer may be allowed to speak for himself, as he has done in
the following words:

'It has been my ideal not to allow any composer or school of

music to influence me to the point of imitating them. I have
striven to express my own individuality regardless whether it was
good, bad, or indifferent. I prefer my own hat to a borrowed
crown. Of course, I have had many admirations and have
absorbed musical nutriment from many sources. I believe that
catholicity of education is a thing greatly to be desired.... More
than the music of any individual composer; more than the music
of any particular school,—the folk-tunes of the world, of all
nationalities, races, and peoples, have been to me a never-failing
source of delight, wonder, and inspiration. In them I can hear the
spirit of all great music. Through them I can feel the very heart-
beat of humanity. Simple as these folk-melodies are in structure,
they yet speak to me so poignantly, and with such a deep
sincerity of expression, as to be (for myself, at least) more
pregnant with inspirational suggestion than the music of any one
composer.'
American Composers: John Alden Carpenter, Charles Martin
Loeffler,
Henry F. Gilbert Campbell-Tipton.
Finishing in his earliest period with the strictly German influence,
Gilbert had also done with the exhibition of a predominating modern
French influence before his colleagues had awakened to the
existence of such a thing. It is, however, significant to note that the
'Negro Episode' for orchestra, and arranged also for piano, dates
from earliest days. An orchestral 'Legend' was a companion piece.
The modern French influence appears in the richly colored and
highly poetic soprano aria, 'Salammbô's Invocation to Tänith,' on
Flaubert's text; in the very imaginative songs, 'Orlamonde'
(Maeterlinck), and 'Zephyrus' (Longfellow), and in the fanciful tone-
poem for piano, 'The Island of the Fay,' after Poe. From this general
period came, in strong contrast, the barbaric and famous 'Pirate
Song,' as well as the delicate 'Croon of the Dew,' and the 'South
American Gypsy Songs.' A strong Celtic influence now asserted itself,
based upon the Irish literary revival and a study of ancient bardic
and other Celtic folk-songs. The chief results were the 'Lament of
Deirdre,' a remarkable song of intensest pathos and mood-
heaviness; four very individual songs called 'Celtic Studies'; and the
'Fairy Song,' all on verses of the Irish poets. A fine piece of American
savagery from this period, presumably deriving from Whitmanic
influences, is the song on Frederick Manley's poem, 'Fish Wharf
Rhapsody.' These various phases finally yielded to a strong impulse
toward a bold expression of Americanism, and Gilbert composed the
'Comedy Overture on Negro Themes,' a vigorous and jubilant work
which has been widely heard and has awakened much interest in the
composer. A less important 'Humoresque on Negro Minstrel Tunes,'
for orchestra, followed, and a massive orchestral 'Negro Rhapsody,'
first produced at the 'Norfolk Festival' under the composer's direction
in 1913. 'The Dance in the Place Congo,' for orchestra, after a vivid
word-painting by George W. Cable, is the composer's most extensive
work. There are also for orchestra 'American Dances in Ragtime
Rhythm,' and, in another vein, an impressive 'Symphonic Prologue'
to J. M. Synge's 'Riders to the Sea,' conducted by the composer at
the MacDowell festival at Peterboro, N. H., in 1914. There is a song
on Whitman's 'Give me the splendid silent sun,' a chorus with
orchestra, 'To Thee, America,' five 'Indian Scenes' for piano, and
other works. Often rough in technique, though greatly resourceful,
and rich in orchestral imagination, it is to the spirit of the time and
nation that Gilbert makes his contribution and his appeal. He is the
avowed enemy of tradition and fashion, whether in art, dress, or
speech, and a fighter for freedom and individuality in music.

A. F.

Arthur Farwell is a composer who may well be called representatively

American, inasmuch as his work contains elements which exemplify
the spirit and aims of our native art. Mr. Farwell is perhaps most
widely known for his studies in Indian music and for such of his
compositions as are built from this material. He has realized,
however, that presenting as it does only one phase, and that a more
or less exotic one, Indian music in no way can stand as an accepted
basis of our national musical art. Mr. Farwell has kept well abreast of
the tide of modern music and has cultivated a style in which its
idioms are employed with considerable originality and imbued with
the rare poetic feeling that is his. It is with this broadness of view
also that Mr. Farwell conducted the Wa-Wan Press, established by
him in 1901. This institution had as one of its principal missions the
promulgation of the Indian and other folk elements in American
composition and the exploitation of such works as employed this
element. Its pages were, nevertheless, open to all native composers,
irrespective of 'school,' who had something to say, and its founder
has to his great credit the record of having lent early recognition to a
number of the younger and progressive American composers.

Farwell's earlier compositions reveal the usual sway of varied

influences with a tendency to the original harmonic treatment that
has remained the distinctive feature of his late work. He may be said
to have first 'found himself' in an overture, 'Cornell' (op. 9), written
while he was a musical lecturer at Cornell University. Combining
Indian themes and college songs in a sort of American academic
overture, the vigor of style and effectiveness of scoring has gained
for this work a permanent place in the orchestral répertoire.
Following this Mr. Farwell devoted himself for some time to the study
of and experiments in Indian music, and thus follow in his list of
works several of his best-known compositions; the book of 'American
Indian Melodies,' for piano; 'Dawn'; 'Ichibuzzh'; and 'The Domain of
the Hurakan.' The orchestral version of the last-named work is a
score of great impressiveness and of brilliant color. It has had
several conspicuous performances which have done much to win
recognition for his larger gifts.

The 'Symbolistic Studies,' comprising opera 16, 17, 18, and 24, are
tone-poems with a generic title. The composer describes them as
being 'program music, the program of which is merely suggested,'
an attempt, in other words, to create a form that shall offer the
composer the means of unrestricted expression, while its musical
coherence shall preserve an intrinsic worth and general appeal as
absolute music. In the 'Impressions of the Wa-Wan Ceremony' (opus
21) and the 'Navajo War Dance' (opus 29) Mr. Farwell has made
further interesting and effective treatment of the Indian color. The
set of pieces comprised under the former title contains some very
atmospheric pages in which the strange monotony that marks the
Indian song is obtained by novel uses of diatonic material at once
bold and beautiful. The barbaric crudity is still further implied in the
'Navajo War Dance,' where Farwell has renounced almost all defined
harmony, preserving only the vigorous rhythm of the dance in the
bold intervals of the Indian melody.

Mr. Farwell was one of the first composers to write music for the so-
called community pageants. In the 'Pageant of Meriden' and the
'Pageant of Darien' he has obtained a remarkable success by the
masterly skill with which he has welded the diffusive elements of
pictorial description, folk-song suggestion, dances and choruses, into
a coherent and artistic whole. Equally successful along similar lines
was Farwell's music for Louis N. Parker's play, 'Joseph and His
Brethren,' and Sheldon's 'Garden of Paradise.'

In his vocal compositions Farwell shows some of his best

inspirations. Among the larger of these works is a tone-poem for
voice and orchestra, opus 34 (the words from Sterling's 'Duandon'),
a score of rich color and poetic description in which the voice has
little of what has heretofore been known as melody, but performs a
more modern function of sounding the salient notes of harmonies
that are woven in an ultra-modern profusion of color. The same is
true of several other large songs, such as 'A Ruined Garden' (opus
14), 'Drake's Drum' (opus 22), and 'The Farewell' (opus 33). In the
second section of 'A Ruined Garden,' however, there is a clearer line
of melody over a harmonic scheme of haunting loveliness. This song
is one of the more popular ones of Mr. Farwell's list, having been
sung frequently by Florence Hinkle and others of note. There is an
orchestral version of the accompaniment which enhances its rich
color effects. In his two most recent songs, 'Bridal Song' and
'Daughter of Ocean' (opus 43), the composer has applied in a more
modern and highly colored scheme some of the experiments with
secondary seventh chords that lend such interest to his later Indian
studies.

In some of his shorter songs Farwell has again made some valuable
contributions to the nationalistic development. Besides the
interesting cowboy song, 'The Lone Prairie,' already mentioned (see
Chap. VII), there is a remarkable utilization of the negro element in
'Moanin' Dove,' one of the 'negro spiritual' harmonizations beautiful
in its atmosphere of crooning sadness. In concerted vocal music
Farwell has made a setting of Whitman's 'Captain, My Captain' for
chorus and orchestra (opus 34), a 'Hymn to Liberty,' sung at a
celebration in the New York city hall (1910); some male and mixed
choruses, and part-songs for children.

B. L.
Harvey Worthington Loomis occupies not merely a unique place in
American music, but one which is elusively so, and difficult of both
determination and exposition. To place the delicate and fragile spirit
of a Watteau or a Grétry in the midst of the hurly-burly of American
life would seem a sorry anachronism, as well as anatopism, on the
part of the Providence which rules over the destinies of art. Yet it is
some such position that Loomis occupies, a fact which tends to
explain why he has not received the attention at the hands of his
countrymen that the rare originality, charm, and finish of his work
merit. The court of Louis XVI would have opened its palaces and
gardens to him, but the America of the twentieth century with
difficulty finds standing room for him in the vestibule. Bringing with
him such a nautilus-like spirit as animated the artists of an earlier
France, he matured it in an America which as yet knew scarcely
anything of any musical system or spirit beyond the German. It is,
therefore, a wholly amazing phenomenon of art that, out of
materials thus solid, Loomis contrived to fashion his aerial and
delicately tinted fairy edifices of tone, of a character totally different
from those of Teutons of the subtler sort, and foreshadowing the
achievements of the later Frenchmen with a newly devised medium
at their command. It is evidence of the purest kind of the yielding of
matter to spirit.

Consider that exquisite masterpiece, 'In the Moon Shower'—a very

epitome in miniature of Loomis' genius—a setting of Verlaine's
L'heure exquise for singing voice, speaking voice, piano, and violin.
It seems not to contain a harmony or a progression with which we
have not long been made familiar by our Germanic system, and yet
how complete the departure which it makes from the spirit of
German tradition, and how utterly it dissolves the medium which it
draws upon to re-materialize it as the shadowy reflection of a
Verlaine dream. It is not that Loomis has not become familiar with,
and in a measure assimilated, the later French idiom, but that,
without the knowledge and employment of it, he earlier
spontaneously breathed forth the quality of spirit which we now
recognize in a Debussy or a Ravel. Loomis has also been exceedingly
hospitable to native aboriginal themes and has treated them in the
spirit of a delicate and refined impressionism. His technique is
invariably of the nicest, with minute attention to every detail.

Loomis has produced much. There is a grand opera, 'The Traitor

Mandolin'; two comic operas; incidental music of most aristocratic
artistry to the plays 'The Tragedy of Death,' by René Peter, and 'The
Coming of the Prince,' by William Sharp, and music of similarly
refined mood to a number of pantomimes—a favorite form of Loomis
—'The Enchanted Fountain,' 'Put to the Test,' 'In Old New
Amsterdam,' 'Love and Witchcraft,' and 'Black and White.' There are
many piano compositions of charm, sprightliness, humor, and
impressionistic interest, including two books of 'Lyrics of the Red
Man'; and many songs brimming with poetry and character, among
them 'In the Foggy Dew,' 'Love Comes, Love Goes,' 'Hark, Hark, the
Lark' (a delightful conception inviting no comparison with Schubert),
and songs of negro character, such as the exquisite 'Hour of the
Whippoorwill.' Loomis has written choruses and part-songs, and a
stupendous quantity of excellent children's songs for schools. The
composer was born in Brooklyn, N. Y., in 1865 and makes his home
in New York. He started upon his musical career in the National
Conservatory, where he was awarded a free scholarship by Dr.
Dvořák.

II
If, thus early, it may be said that the many musical ideals and
influences which have struck root in America have centred and
blended in any single composer, that composer is Frederic Ayres.
The true eclecticism which constitutes the latest phase of American
development, to have value for musical art, must necessarily involve
the complete submergence and assimilation of hitherto unreconciled
influences in a single new creative personality. Of such a new and
authentic American electicism Ayres stands forth so clearly as the
protagonist that a claim for him in this rôle will hardly be successfully
disputed. This occupation of such a position is, however, a purely
spontaneous circumstance, arrived at by obedience to no theory, but
only through creative impulse.

Without being unduly extravagant, informal, though logical, as a

formalist, Ayres commands his many qualities for the expressive
purposes of a spirit eager for the discovery and revelation of perfect
beauty. Such a perfection of beauty he by no means always finds;
indeed, his earlier experimental excursions not infrequently left the
ground rough over which he trod. And even at the present time he is
only entering upon a full conscious command of his material. Only a
keen sensitiveness to every significant influence, European and
American, could have led to the development of so rounded and
typical a musical character. Taught, in the first instance, by Stillman-
Kelley and Arthur Foote, his broad sympathies led him early to blend
the German, French, and American spirit through a devotion to no
less striking a group of composers than Bach, Beethoven, Stephen
Foster, and César Franck. A constant contact with natural scenes of
the greatest grandeur, in the Rocky Mountains of Colorado, has
undoubtedly exercised a broadening effect upon his conceptions.
While he has not employed native aboriginal themes, or even made
a special study of them, many of his melodies have a strong Indian
cast, which is difficult to explain except on the basis of some
psychological aspect of climatic and other environmental influences.

The trio for piano, violin, and 'cello (opus 13) abounds in supreme
qualities of freshness and spontaneity. Taken as a whole, it is typical
of the manner in which the composer rises, easily and blithely, out of
the ancient sea of tradition into the blue of a new and happier
musical day. The work was first heard on April 18, 1914, at a concert
of the Cincinnati Conservatory of Music, and has since had various
public performances. The violin sonata (opus 15) is of great beauty
and rich in characteristic qualities, and presents an interesting study
in formal originality. A piano sonata (opus 16) and a 'cello sonata
(opus 17) have been completed. Ayres has written songs of
surpassing loveliness and originality. His 'Sea Dirge,' a setting of
Shakespeare's 'Full Fathom Five,' from 'The Tempest,' reveals a
poignancy of imagination and a perception and apprehension of
beauty seldom attained by any composer. Other highly poetic
Shakespeare songs are 'Where the Bee Sucks,' 'Come Unto These
Yellow Sands,' 'It was a Lover and His Lass.' A richly colored vocal
work is 'Sunset Wings' (opus 8), after Rossetti. 'Two Fugues' (opus
9) and 'Fugue Fantasy' (opus 12), for piano, of American
suggestiveness, Indian and otherwise, are striking tours de force of
originality. The 'Songs of the Seeonee Wolves' (opus 10), from
Kipling's 'Jungle Book,' are vivid presentations of the composer's
conception of the call of the wild. Ayres was born at Binghamton, N.
Y., March 17, 1876, and lives in Colorado Springs, Col.

One of the most keenly individualized of American composers, and

one of the most daring and original in the employment of ultra-
modern resource, is Arthur Shepherd, formerly of Salt Lake City and
at present connected with the New England Conservatory of Music in
Boston, Mass. His work, as a whole, is almost unique in American
music in the completeness of its departure from the styles of any
individual composers who may earlier have stimulated or influenced
him. The dominating factor in his work, almost from the beginning,
has been the will to express himself in a certain manner, wholly his
own, and on this positive ground extraneous influences have been
able to gain but a scant foothold. Of the Brahms and Wagner
influences which he acknowledges, the former can be traced only in
his earliest pages, and the latter seems nowhere to appear. His
harmony would make any other German than a radical Strauss
enthusiast shrink with horror, so sweeping and so subversive of the
usual order are its departures from the accepted scheme, while, on
the other hand, it can be said to be very little suggestive of the
characteristic harmonic quality of the modern French school.
Especially it eschews the luscious and velvety harmonic surface of
Debussy. In both melody and harmony, the saccharine—even the
merely sweet—the sensuous and the languorous, Shepherd
dethrones with the sedulous intolerance of a Pfitzner and, like that
composer, exalts in its place a clear and luminous spiritual beauty.
Otherwise he works in lines that cut, in chords that bite and grip,
and rises often to great nobility of conception and expression. In his
latest works, 'The Nuptials of Attila,' a dramatic overture after
George Meredith, and a 'Humoreske' for pianoforte and orchestra, he
has fought against the tendency toward over-complexity manifested
in his earlier work, and has gained a greater clarity of harmonic
texture.

The pianoforte sonata in F minor (opus 4), with which the composer
took the National Federation of Musical Clubs' prize in the 1909
competition, is a massive work of great breadth of conception. The
second movement shows Shepherd's peculiar power of evoking
deeply subjective moods; it presents an almost ghostly quality of the
elegiac and has much of nobility. The third movement makes bold
use of a cowboy song and has a magnificent original melody of a
broad Foster-like quality, but the composer holds 'nationalism' to be
merely incidental to a broader artistic function. He rises to an
unusual naturalness in this movement, which, like the others, is
highly virile. 'The City in the Sea,' a 'poem for orchestra, mixed
chorus, and baritone solo,' on Bliss Carman's poem, is a large work
of extraordinary modernity and individuality. 'Five Songs' (opus 7)
are worthily representative and contain much of beauty. There are
also 'Theme and Variations' (opus 1), and 'Mazurka' (opus 2), for
pianoforte, and a mixed chorus with baritone solo, 'The Lord Hath
Brought again Zion.'
Noble Kreider, through the possession of that more exalted sense of
beauty and flashing quality of inspiration which illuminates only the
rarer musical souls of any period, takes his place with those in the
forefront of American musical advance. In this capacity, however, his
place is less that of a militant than that of a standard-bearer of
ideals of beauty. He has the further distinction of being the only
American composer, of first rank at least, who has found the
complete expression of his personality and ideals through the
medium of the piano, and who, as an inevitable corollary of this
circumstance, has more intimately and sympathetically than any
other made the piano speak its own proper language. American
composers write seriously, and sometimes admirably, for the piano
now and then; Kreider lives and breathes through it. It responds to
him sensitively and with its whole soul, as it did to Chopin. It has
become identified with his imaginative quality.

Chopin has, indeed, been the strongest influence in the formation of

Kreider's musical character, and while, in his earlier work, nothing
was more evident than this fact, in his later nothing is more evident
than the emergence of his own individuality. So distinct, however, is
Kreider's personality that it is unmistakably present even in much of
his earliest music. A mystery and sombreness, as of an influence of
the North, foreign to Chopin, dominates certain of his moods; and
then Kreider is more of a pagan than Chopin was.

The 'Two Legends' (opus 1) have beauty and inspiration, if not a

particular distinction of modernity. The 'Ballad' (opus 3) is of heroic
and Ossianic cast, restless, like much of Kreider's music, with
contained passion—a passion which at times flashes forth in
unexpected lightning strokes. A 'Nocturne' (opus 4) is haunting in
melody and of an almost Oriental languor. The 'Impromptu' (opus 5)
is a darting and upspringing inspiration, with a middle section of
great lyrical warmth and beauty. Opus 6 comprises two 'Studies,'
both containing a very high quality of beauty with special technical
interest. 'Six Preludes' (opus 7) are characteristic, at times
Chopinesque, and always fresh and inspirational. The 'Prelude' (opus
8) is a broad and powerful processional of great cumulative dynamic
force. 'Three Moods' (opus 9) show the full emergence of the
composer's individuality; the second, 'The Valley of White Poppies,' is
a rarely perfect and ecstatic inspiration. Opus 10 contains a 'Poem'
and a 'Valse Sentimentale.' There is also an unpublished work for
'cello and piano and a very original 'Nocturne.' Kreider's development
has been chiefly self-directed. His birthplace and home is Goshen,
Indiana.

Benjamin Lambord is a composer whose work reflects in a striking

manner the evolutionary upheaval which, in the present generation,
has carried the nation from the end of the old epoch to the
beginning of the new. There could not well be a closer fidelity to the
old German musical spirit and style, especially as pertains to the
Lied, than in Lambord's early songs. Even that restricted medium,
however, lent itself to all levels of creative impotence or dignity, and
if there is a particular distinguishing characteristic in Lambord's work
in that style, it is to be found in a peculiar depth of sincerity, an
adumbration of personality yet to emerge in individualized
expression. This quality will be observed in the first number,
Christina Rossetti's 'Remember or Forget,' of the composer's opus 1,
which consists of three songs. 'Four Songs,' opus 4, fall under the
same dispensation; all indicate a leaning to poetry of high character.
A trio for violin, 'cello, and piano (opus 5) from the same period
shows good impulse and bold and well-defined themes, but is
conventional in harmony and structure generally. An elaborate 'Valse
Fantastique' (opus 6) shows a similar energy and boldness of
contour. The modern musical ear must search diligently, however, to
discover its fantastic element. 'Two Songs' (opus 7), on poems of
Heine and Rückert, are deeply felt, and 'Lehn deine Wang' in
particular manifests a tendency to enrich the older medium.
With opus 10, 'Two Songs with Orchestra,' however, the composer
stands forth in a wholly new light, as an ultra-modern of exceptional
powers, and with a subtlety, an imagination and a rich and varied
color-sense of which the earlier works can be said to give no
appreciable indication. The second of these songs, 'Clytie,' on a
poem by André Chénier, is a highly mature expression in the ultra-
modern Germanic idiom, technically speaking, though in its musical
quality there is much of subtle individuality. The voice part is
managed with an appreciation of both delicacy and power, as well as
the requirements of artistic diction, and the accompaniment is a web
of sensitive modulation and dissonance pregnant with sensuous
beauty at every point. The upbuilding of the climax is masterly. The
song was presented with much success at a concert of the Modern
Music Society in New York in the season of 1913-14, when it was
sung by Miss Maggie Teyte. At the same concert, under the
composer's direction, was heard a number from his opus 11, 'Verses
from Omar,' for chorus and orchestra. Here Lambord adds to his
expressional scheme an effective pseudo-Oriental quality, gaining an
insistent atmosphere with very simple means. Particularly interesting
is the way in which he has varied the manner of employment of his
main theme, showing a keen sense of thematic organization.
Peculiarly gratifying is the a cappella rendering of the lines beginning
'But ah! that Spring should vanish with the rose' after the powerful
climax for chorus and orchestra combined. The composer also has
an 'Introduction and Ballet' (opus 8) for orchestra, a work of
considerable elaborateness and much rhythmic and melodic variety,
one which shows his thorough grasp of orchestral technique. With
the nationalistic school Lambord has nothing in common. He is,
however, a native New Englander, being born in Portland, Me., in
1879, and his earlier studies in composition were pursued under
MacDowell at Columbia University. Later he travelled in France and
Germany and studied orchestration with Vidal in Paris.

III
In the modification of the romantic through the influence of the
ultra-modern school, the musical development of Campbell-Tipton
presents a circumstance which is typical of the experience of many
American composers whose formative period coincides with the
present transitional epoch. The style of the composer's earlier work
rested upon a broad Germanic basis, modern, yet scarcely having
passed from the modernity of Liszt to that of Strauss. His work in the
earlier vein is vigorous, structurally firm, definite in its melodic
contours, and warm in its harmonic color. Force of personality
asserts itself, even if the means employed are not highly
individualized and lean overheavily upon tradition. To this period
belong 'Ten Piano Compositions' (opus 1); 'Romanza Appassionata'
(opus 2), for violin and piano; 'Tone Poems' (opus 3), for voice and
piano; two 'Legends,' and other works, especially songs. The
culminating expression of this period is the 'Sonata Heroic,' for
piano, a work of solidity and brilliance, in one broadly conceived
movement. It is quasi-programmatical and is founded upon two
themes, representing the 'Hero' and the 'Ideal,' the latter in
particular being a melody of much warmth and beauty. These are
variously interwoven in the development section, and lead to a
return upon the second theme and a climax upon the heroic theme.
The work has had various public performances in America and
Europe. 'Four Sea Lyrics,' for tenor with piano accompaniment, on
poems by Arthur Symons, belong, broadly speaking, to the period of
the sonata. They are works of distinguished character, 'The Crying of
Water' being especially poignant in its expressiveness. The
somewhat elaborately worked out 'Suite Pastorale' (opus 27), for
violin and piano, and 'Two Preludes' (opus 26), mark no particular
departure in style, except that the second of the latter is so modern
as to have no bar divisions.

With the 'Nocturnale' and 'Matinale' (opus 28), especially the former,
comes a marked departure toward impressionism and ultra-modern
harmonic effect, with a gain in color and a corresponding loss in
structural quality. The 'Four Seasons' (opus 29), symbolizing four
seasons of human life, bear out the tendency toward impressionism
and harmonic emancipation, and at the same time seek a greater
substantiality of design and treatment. There is an 'Octave Étude'
(opus 30), for piano, and a 'Lament' (opus 33), for violin and piano.
Among other songs are 'A Spirit Flower,' 'Three Shadows,' 'A Fool's
Soliloquy,' 'The Opium Smoker,' and 'Invocation.' An opera is in
process of completion. Campbell-Tipton was born in Chicago, in
1877, and lives at present in Paris.

Arthur Nevin would be deemed an out-and-out romanticist were it

not that the authorship of so significant a work as an Indian opera,
drawing freely upon Indian songs for thematic material, places him
in the ranks of those who have proved the existence of available
sources of aboriginal folk-music in America. Nevin is not, however, a
nationalist, avowed or otherwise, but with the freedom and
experimental eclecticism which has come to be so general a
characteristic with American composers, he is ready to draw upon
any promising new source of musical suggestion or inspiration. The
opera in question, 'Poia,' text by Randolph Hartley, is based upon a
sun legend of the Blackfeet Indians of Montana, with whom the
composer spent the summers of 1903 and 1904 collecting material.
'Poia' was produced at the Royal Opera, Berlin, Dr. Karl Muck
conducting, on April 23, 1910, under stormy circumstances, due to
the violent opposition of an anti-American element in the audience.
The composer was, nevertheless, many times recalled at the close.
The orchestral score is elaborate and modern in instrumental
treatment. While Nevin acknowledges Wagner as the chief formative
influence upon his musical character, the music of 'Poia' presents
little or nothing in the way of obvious Wagnerisms. It is freely lyrical,
often very melodious, and, where not boldly characterized by Indian
themes, is built on modern German lines. A second opera, 'Twilight,'
in one act, has not been performed.
'The Djinns,' a cantata on the metrical fancy of the same name by
Victor Hugo, won, with the a cappella chorus, 'The Fringed Gentian'
(Bryant), the divided first prize of the Mendelssohn Club of
Cleveland, Ohio, in 1912. The cantata is composed for mixed chorus
accompanied by two pianos. The composer has chosen not to follow
in his musical rhythms the metrical caprice of the poet, but to
employ the words freely in a piece of modern musical tone-painting,
following the single emotional crescendo and decrescendo of which
the poem consists. The work is thoroughly representative of the
restless energy of Nevin's muse and contains examples of the
sustained lyricism and melodic and rhythmic charm which
characterize much of his music. The miniature orchestral suite, 'Love
Dreams,' had its first performance, under the composer's direction,
at the Peterboro Festival in 1914. Other works of the composer are a
pianoforte suite, 'Edgeworth Hills,' 'Two Impromptus' for piano, two
mixed choruses on poems by Longfellow, 'At Daybreak' and
'Chrysoar,' and many songs of much charm, including a very direct
and sincere piece of expression, 'Love of a Day,' the well-known
'Egyptian Boat Song,' and the exquisite 'Indian Lullaby' on a
Blackfeet Indian melody. A piano trio in C major and a string quartet
in D minor are in manuscript.

Charles Wakefield Cadman, despite his sympathetic and successful

entrance—successful, very likely, because sympathetic—into the field
of Indian music, can scarcely be justly classed as a downright
nationalist. None of the reputed 'nationalist' composers of America,
for that matter, will bear strict analysis as such, for in all cases their
compositions upon aboriginal or other primitive melodies peculiar to
America constitute but one department of their endeavor, and
represent but one element of their ideal. Cadman, nevertheless, had
he composed nothing beyond the famous Indian song, 'From the
Land of the Sky-Blue Water,' would have done enough to prove the
most important and valuable contention included in the nationalist
creed, which is that aboriginal American folk-songs may be a
stimulus to the making of good music of a new sort, and that there
is nothing inherent in Indian melodies to repulse popular sympathy.
Like other American nationalists, Cadman is at heart an eclectic. The
nationalism of Grieg, Tschaikowsky, and Puccini interests him, but
not so much as the American freedom of choice.

The song mentioned is one of a set of four which first brought the
composer into public notice, in 1907. The others are 'Far Off I Hear a
Lover's Flute,' 'The Moon Drops Low,' and 'The White Dawn is
Stealing.' In his treatment of these Indian themes he does not
accentuate their aboriginal character, but enfolds them naturally in a
normally modern harmonic matrix, with very pleasing effect. These
songs were followed by 'Sayonara,' a Japanese romance, for one or
two voices; 'Three Songs to Odysseus,' with orchestral
accompaniment (opus 52); 'Idyls of the South Sea'; and 'Idealized
Indian Themes,' for the piano—revealing various phases of the
composer's versatility and fertile fancy. A representative recent work
is the 'Trio in D Major' (opus 56), for violin, violoncello, and piano, of
which the leading characteristics are melodic spontaneity and
freshness of musical impulse. Everywhere are buoyancy, directness
of expression, motion, but little of thematic involution or harmonic or
formal sophistication. It is the trio of a lyrist; from the standpoint of
modern chamber music it might be called naïve, but the strength,
sincerity and beauty of its melodies claim, and sometimes compel,
one's attention. There are strong occasional suggestions of Indian
influence, probably unintentional on the composer's part, as there is
no evidence revealing this work as one of nationalistic intention. The
trio has been widely performed.

Cadman has a completed three-act Indian opera, 'The Land of Misty

Water,' libretto by Francis La Flesche and Nelle Richmond Eberhart.
Forty-seven actual Indian melodies form its thematic basis. Other
works are 'The Vision of Sir Launfal,' a cantata for male voices; 'The
Morning of the Year,' a cycle for vocal quartet; and many works in
various small forms. Cadman won the second prize in its class in the
National Federation of Musical Clubs Prize Competition of 1911 with
a song, 'An Indian Nocturne,' and one of the 'Four Indian Songs' was
awarded a prize in a Pittsburgh Art Society competition.

The recent sudden appearance of John Alden Carpenter among

American composers, with work of singularly well-defined
individuality and notable maturity of style, is a phenomenon which
calls to mind Minerva springing full-grown from the head of Jove.
Except for a sonata for violin and piano, Carpenter's published work
consists wholly of songs. The first set, 'Eight Songs for a Medium
Voice,' show forth at once the unique personality of the composer. It
is Carpenter's distinction, in a sense, to have begun where others
have left off. He is a personality of the new musical time with its new
and transformed outlook upon the art. The margin of advance
gained by the most recent developments of modernity, more
especially from the French standpoint, becomes his main territory,
while it would be well-nigh impossible, from his work, to suspect
that the old ground of tradition and formula had ever existed. Far
from his modernity meaning complexity, it is attained generally by
means of a veritably startling simplicity. It is the principles of
modernity which interest him, and he seeks the simplest means of
their exemplification. Above all, he takes high rank in the sensitive
perception of beauty. These characteristics are all manifest in the
'Eight Songs' which comprise the richly beautiful 'The Green River'
(Lord Douglas), a limpid setting of Stevenson's 'Looking-Glass River,'
a setting of the Blake 'Cradle Song' which combines science and
poetry in a remarkable degree in view of the simplicity of treatment,
the somewhat overweighted 'Little Fly' (Blake), the lusty Dorsetshire
dialect song, 'Dont Ceäre' (Barnes), a crisp interpretation of
Stevenson's 'The Cock Shall Crow,' and characteristic settings of
Waller's 'Go, Lovely Rose' and Herrick's 'Bid Me to Live.' Of four
highly modernized and colorful Verlaine songs, Le Ciel and 'Il Pleure
dans mon Cœur,' attain the most modern scheme of musical thought
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