Contemporary American Composers Part 16

Words by PERCY BYSSHE Sh.e.l.lEY.

Music by FRED. FIELD BULLARD, Op. 17, No. 4.

From the forests and highlands I come, I come; From the river-girt islands, Where waves are dumb; From the forests and highlands, From the river-girt islands, I come, I come, I come.

The wind in the reeds and the rushes, The bees in the bells of thyme, The birds in the myrtle bushes, The....

Copyright, 1894, by Miles & Thompson.

A FRAGMENT.]

"In the Greenwood" (op. 14) is graceful, and "A June Lullaby" has a charming accompaniment of humming rain. Bullard has set some of Sh.e.l.ley's lyrics for voice and harp or piano, in opus 17. "From Dreams of Thee" gets a delicious quaintness of accompaniment, while the "Hymn of Pan" shows a tremendous savagery and uncouthness, with strange and stubborn harmonies. Full of the same roborific virility are his settings to the songs of Richard Hovey's writing, "Here's a Health to Thee, Roberts," "Barney McGee," and the "Stein Song." These songs have an exuberance of the roistering spirit, along with a competence of musicianship that lifts them above any comparison with the average balladry. Similarly "The Sword of Ferrara," with its hidalgic pride, and "The Indifferent Mariner," and the drinking-song, "The Best of All Good Company," are all what Horace Greeley would have called "mighty interesting." Not long ago I would have wagered my head against a hand-saw, that no writer of this time could write a canon with spontaneity. But then I had not seen Bullard's three duets in canon form. He has chosen his words so happily and expressed them so easily, and with such arch raillery, that the duets are delicious. Of equal gaiety is "The La.s.s of Norwich Town," which, with its violin obbligato, won a prize in the _Musical Record_ compet.i.tion of 1899.

Bullard was born at Boston, in 1864. He studied chemistry at first, but the claims of music on his interest were too great, and in 1888 he went to Munich, where he studied with Josef Rheinberger. After four years of European life he returned to Boston, where he has taught harmony and counterpoint along rather original lines. He is a writer with ideas and resources that give promise of a large future. His scholarship has not led him away from individuality. He is especially likely to give unexpected turns of expression, little bits of programmism rather incompatible with the ballad form most of his songs take. The chief fault with his work is the prevailing dun-ness of his harmonies. They have not felt the impressionistic revolt from the old bituminous school. But in partial compensation for this bleakness is a fine ruggedness.

Of his other published songs, "At Daybreak" shows a beautiful fervor of repression. "On the Way" is redeemed by a particularly stirring finish. In opus 8, "A Prayer" is begun in D minor and ended in D major, with a strong effect of sudden exaltation from gloom. "The Singer" begins also in sombre style with unusual and abrupt modulations, and ends in a bright major. "The Hermit" is likewise grim, but is broad and deep. It uses a hint of "Old Hundred" in the accompaniment.

Opus 11 couples two dramatic ballads. In this form of condensed drama is a too-little occupied field of composition, and Bullard has written some part songs, of which "In the Merry Month of May," "Her Scuttle Hat," and "The Water Song" are worth mentioning. "O Stern Old Land" is a rather bathetic candidate for the national hymnship. But his "War Song of Gamelbar," for male voices, is really a masterwork.

Harmonists insist on so much closer compliance with rules for smoothness in vocal compositions than in instrumental work, that the usual composer gives himself very little liberty here. Bullard, however, has found the right occasion for wild dissonances, and has dared to use them. The effect is one of terrific power. This, his "Song of Pan" and "The Sisters" give him a place apart from the rest of native song-writers.

[Ill.u.s.tration: HOMER A. NORRIS.]

With all reverence for German music, it has been too much inclined of late to domineer the rest of the world, especially America. A useful counter-influence is that of Homer A. Norris, who has stepped out of the crowd flying to Munich and neighboring places, and profited by Parisian harmonic methods.

His book, "Practical Harmony," imparts a, to us, novel method of disarming the bugaboo of altered chords of many of its notorious terrors. He also attacks the pedantry of music "so constructed that it appeals to the eye rather than the ear,--paper-work," a most praiseworthy a.s.sault on what is possibly the heaviest incubus on inspiration. In a later work on "Counterpoint" he used for chapter headings Greek vases and other decorative designs, to stimulate the ideal of counterpoint as a unified complexity of graceful contours.

Norris was born in Wayne, Me., and became an organist at an early age. His chief interest has been, however, in the theory of music, and he studied with G.W. Marston, F.W. Hale, and G.W. Chadwick, as well as Emery. In deciding upon foreign study he was inspired to choose France instead of Germany. This has given him a distinct place.

After studying in Paris for four years under Dubois, G.o.dard, Guilmant, and Gigout, he made his home in Boston, where he has since confined himself to the teaching of composition.

As yet Mr. Norris has composed little, and that little is done on simple lines, but the simplicity is deep, and the harmonies, without being bizarre, are wonderfully mellow.

His first song, "Rock-a-bye, Baby," he sold for twelve printed copies, and it is said to have had a larger sale than any cradle-song ever published in this country. His song, "Protestations," is tender, and has a violin obbligato that is really more important than the voice part. The song, "Parting," is wild with pa.s.sion, and bases a superb melody on a fitting harmonic structure. I consider "Twilight" one of the best American songs. It gets some unusual effects with intervals of tenths and ninths, and shows a remarkable depth of emotion.

In the larger forms he has done a concert overture, "Zoroaster"

(which, judging from an outline, promises many striking effects), and a cantata, "Nain," which has the sin of over-repet.i.tion of words, but is otherwise marked with telling pathos and occasional outbursts of intensely dramatic feeling.

Perhaps his most original work is seen in his book of "Four Songs for Mezzo-Voice." The first is Kipling's "O Mother Mine," with harshnesses followed by tenderest musings; the second is a n.o.ble song, "Peace,"

with an accompaniment consisting entirely of the slowly descending scale of C major; a high-colored lilt, "The World and a Day," is followed by a Maeterlinckian recitative of the most melting pathos.

This book is another substantiation of my belief that America is writing the best of the songs of to-day.

One of the best-esteemed musicians in Boston, G.E. Whiting has devoted more of his interest to his career as virtuoso on the organ than to composition. Not many of such works as he has found time to write have been printed. These include an organ sonata, a number of organ pieces, a book of studies for the organ, six songs, and three cantatas for solos, chorus, and orchestra, "A Tale of the Viking,"

"Dream Pictures," and "A Midnight Cantata."

Whiting was born at Holliston, Ma.s.s., September 14, 1842. At the age of five, he began the study of music with his brother. At the age of fifteen, he moved to Hartford, Conn., where he succeeded Dudley Buck as organist of one of the churches. Here he founded the Beethoven Society. At the age of twenty he went to Boston, and after studying with Morgan, went to Liverpool, and studied the organ under William Thomas Best. Later he made a second pilgrimage to Europe, and studied under Radeck.

For many years he has lived in Boston as a teacher of music and performer upon the organ. In ma.n.u.script are a number of works which I have not had the privilege of seeing: two ma.s.ses for chorus, orchestra, and organ, a concert overture, a concerto, a sonata, a fantasy and fugue, a fantasy and three etudes, a suite for 'cello and piano, and a setting of Longfellow's "Golden Legend," which won two votes out of five in the thousand dollar musical festival of 1897, the prize being awarded to Dudley Buck.

[Music: Peace.

EDWARD ROWLAND SILL.

HOMER A. NORRIS.

'Tis not in seeking, 'Tis not in endless striving, Thy quest is found: Thy quest is found.

Be still and listen; Be still and drink the quiet of all around Not for thy crying, Not for thy loud beseeching, Will peace draw near: Will peace draw near: Rest with palms folded, Rest with thine eyelids fallen Lo! peace is here.

Copyright, 1900, by H.B. Stevens Co. International copyright secured.

Used by permission of H.B. Stevens Co., Boston, owners of the copyright.]

Of his compositions H.E. Krehbiel in 1892 recorded the opinion that they "ent.i.tled him to a position among the foremost musicians in this country." He is an uncle of Arthur Whiting.

G.W. Marston's setting of the omnipresent "Du bist wie eine Blume" is really one of the very best Heine's poem has ever had. Possibly it is the best of all the American settings. His "There Was an Aged Monarch"

is seriously deserving of the frankest comparison with Grieg's treatment of the same _Lied_. It is interesting to note the radical difference of their att.i.tudes toward it. Grieg writes in a folk-tone that is severe to the point of grimness. He is right because it is _ein altes Liedchen_, and Heine's handling of it is also kept outwardly cold. But Marston has rendered the song into music of the richest harmony and fullest pathos. He is right, also, because he has interpreted the undercurrent of the story.

Bodenstedt's ubiquitous lyric, "Wenn der Fruhling auf die Berge steigt," which rivals "Du bist wie eine Blume" in the favor of composers, has gathered Marston also into its net. He gives it a climax that fairly sweeps one off his feet, though one might wish that the following and final phrase had not forsaken the rich harmonies of the climax so completely.

This song is the first of a "Song Alb.u.m" for sopranos, published in 1890. In this group the accompaniments all receive an attention that gives them meaning without obtrusiveness. "The Duet" is a delicious marriage of the song of a girl and the accompanying rapture of a bird.

A captivating little florid figure in the accompaniment of a setting of "Im wunderschonen Monat Mai" gives the song worth. "On the Water"

is profound with sombreness and big simplicity. "The Boat of My Lover"

is quaintly delightful.

Marston was born in Ma.s.sachusetts, at the little town of Sandwich, in 1840. He studied there, and later at Portland, Me., with John W.

Tufts, and has made two pilgrimages to Europe for instruction. He played the organ in his native town at the age of fifteen, and since finishing his studies has lived at Portland, teaching the piano, organ, and harmony. From the start his songs caught popularity, and were much sung in concert.

Marston has written a sacred dramatic cantata, "David," and a large amount of church music that is very widely used. He has written also a set of quartettes and trios for women's voices, and quartettes for men's voices.

Possibly his best-known song has been his "Could Ye Come Back to Me, Douglas," which Mrs. Craik called the best of all her poem's many settings.

Only Marston's later piano pieces are really _klavierma.s.sig_. So fine a work as his "Gavotte in B Minor" has no need to consider the resources of the modern instrument. It has a color scheme of much originality, though it is marred by over-repet.i.tion. "A Night in Spain" is a dashing reminiscence, not without Spanish spirit, and an "Alb.u.m Leaf" is a divertiss.e.m.e.nt of contagious enthusiasm.

[Ill.u.s.tration: Autograph of G.W. Marston]

Ariel's songs, from "The Tempest," are given a piano interpretation that reaches a high plane. There is a storm prologue which suggests, in excellent harmonies, the distant mutter of the storm rather than a piano-gutting tornado. "Full Fathoms Five Thy Father Lies" is a reverie of wonderful depth and originality, with a delicious variation on the good old-fashioned cadence. Thence it works up into an immensely powerful close. A dance, "Foot it Featly," follows. It is sprightly, and contains a fetching cadenza.

One of the most prolific writers of American song is Clayton Johns. He is almost always pleasing and polished. While he is not at all revolutionary, he has a certain individuality of ease, and lyric quality without storm or stress of pa.s.sion. Thus his settings of seven "Wanderlieder" by Uhland have all the spirit of the road except ruggedness.

His setting of "Du bist wie eine Blume" is extremely tender and sweet.

Two of Johns' best successes have been settings of Egyptian subjects: "Were I a Prince Egyptian" and Arlo Bates' fine lyric, "No Lotus Flower on Ganges Borne." The latter is a superb song of unusual fire, with a strong effect at the end, the voice ceasing at a deceptive cadence, while the accompaniment sweeps on to its destiny in the original key. He has also found a congenial subject in Austin Dobson's "The Rose and the Gardener." He gets for a moment far from its florid grace in "I Looked within My Soul," which has an unwonted bigness, and is a genuine _Lied_.

In later years Johns' songs have been brought out in little alb.u.ms, very artistically got up, especially for music (which has been heinously printed, as a rule, in this country). These alb.u.ms include three skilfully written "English Songs," and three "French Songs,"

"Soupir" taking the form of melodic recitative. Opus 19 is a group of "Wonder Songs," which interpret Oliver Herford's quaint conceits capitally.

Opus 26 collects nine songs, of which "Princess Pretty Eyes" is fascinatingly archaic. It is good to see him setting two such remotely kindred spirits as Herrick and Emily d.i.c.kinson. The latter has hardly been discovered by composers, and the former is too much neglected.

Johns has also written a few part songs and some instrumental works, which maintain his characteristics. A delightful "Canzone," a happy "Promenade," and "Mazurka" are to be mentioned, and a number of pieces for violin and piano, among them a finely built intermezzo, a berceuse, a romanza that should be highly effective, and a witty scherzino. He has written for strings a berceuse and a scherzino, which have been played by the Boston Symphony Orchestra, and certain part songs, as well as a chorus for female voices and string orchestra, have been sung in London.