The Masters and their Music Part 18

Mrs. H. H. A. Beach, whose maiden name was Amy Marcy Cheney, of Boston, was the daughter of a well-known singer and pianist. Her talent for music showed itself in extreme youth, and at the age of six her real study began. Among her teachers were Ernst Perabo, Carl Baerman, and Julius Hill. She is a pianist of accomplished powers and a composer of remarkable talent. It is told of her that on one occasion she played the Schumann concerto with the Boston Orchestra at a week's notice, in place of a soloist who had canceled an engagement at the last moment.

On another occasion she played her own pianoforte concerto with the orchestra with splendid effect. Last year her "Gaelic Symphony," in E minor, was played in Boston and also in Brooklyn by the Boston Orchestra. Her instrumentation is said to be excellent and the work a very strong one.

Among the many clever compositions of Mrs. Beach's the following are perhaps the most suitable for our use:

Ballad for the pianoforte, dedicated to Mme. f.a.n.n.y Bloomfield-Zeisler; a seriously made composition with a beautiful princ.i.p.al melody, cleverly developed, and a good deal of dramatic power in the working out of the middle part. A composition of considerable difficulty for the player, and also capable of very excellent effect when well done.

There are also four sketches--"In Autumn," "Dreaming," "Phantoms,"

"Fireflies." "In Autumn," a very sprightly composition in F-sharp minor, in a good 4/8 rhythm, capable of very charming effect.

"Dreaming," a meditative sustained melody in the key of G-flat, resting upon a triplet motion in the middle part, with harmonies sensitively changing at unexpected places, capable of most beautiful effect; also an excellent study in cantabile. "Phantoms," a scherzo or quasi-mazurka, very sprightly and pleasing. "Fireflies," a very delightful study in thirds for the right hand, with novel and modern fingering; therefore extremely well adapted for study. This, when well done, must be very beautiful, but it is necessary that the thirds be played with the utmost lightness and equality. It is more difficult, and also more extended than either of the preceding, but extremely well worth attention.

There are also three interesting pieces not so difficult in their working out. First, there is a "Barcarolle" in G minor, opus 28, No.

1; a very attractive rhythm and an extremely attractive harmonic treatment. This is a piece to be played with pleasure by any amateur of taste. It is only of moderate difficulty, as, for instance, sixth grade. Perhaps a little less attractive, but more easy of execution, is the "Menuet Italien," No. 2 of the same opus as the preceding. This is remarkably well worked out, however. The third piece in the same opus is a waltz, "Dance of the Flowers," bright, sparkling, evanescent; clever for the piano, and attractive if well done.

Best of all, perhaps, is a "Romance for Violin and Piano," which is dedicated to Miss Maud Powell. This is a very delightful piece, and would make an admirable conclusion to a program. It requires good playing in all the parts.

With reference to these compositions by Mrs. Beach, it deserves to be said that they are not women's compositions. The musical spirit is unquestionable, the technic of developing ideas that of a well-trained artist, and the writing for the instrument that of an accomplished pianist. At the same time, Mrs. Beach makes no effort to be boisterous and to prove that she is a man by the brute force necessary to play her works. Unless I am very much mistaken, her music will have a much wider currency than it has yet received, because it deserves it.

CHAPTER IX.

MISCELLANEOUS PROGRAM BY AMERICAN COMPOSERS.

For the convenience of clubs and cla.s.ses desiring programs not so difficult of performance and not confined to one or two composers, the following is offered, embracing examples from Messrs. Edgar S. Kelley, Wilson G. Smith, Homer A. Norris, E. R. Kroeger, Geo. W. Chadwick, and Mr. William Sherwood. All of these gentlemen have made thorough studies of composition and several of them have exercised themselves in the larger forms, including orchestral and chamber writing. This is particularly true of Messrs. Chadwick, Kroeger, and Kelley.

Mr. Edgar Stillman Kelley was born April 14, 1857. He is a native of Wisconsin, and was formerly a pupil of Mr. Clarence Eddy, after which he studied in Stuttgart. He has produced quite a large number of orchestral pieces but only a small number for the pianoforte alone. I believe that dramatic music is his main delight. He is also a lecturer upon musical subjects, bringing to his task a large amount of knowledge upon the subject and plenty of enthusiasm.

I have here only two examples of his work. The first is ent.i.tled the "The Flower Seekers," a very pretty and melodious scherzo, having a motto from Chaucer's "Court of Love":

"Fourth goeth al the court, both moste and leste, To feche the flowers freshe, and branche and blome."

The second is ent.i.tled "Confluentia" and the motto upon it: "Here is the conflux of the Rhine and the Mosel. This led the Romans to call the city 'Confluentia.' These streams--which rise in regions so remote--are here united until they pa.s.s into the eternal sea beyond."--_Hans van Brechnowski_ (David Rockwell).

It is a piece in nocturne style with a melodious voice coming in all sorts of forms, a little in the style of the well-known Schumann "Warum."

Mr. Wilson G. Smith is a native of Ohio, educated under Otto Singer in Cincinnati, and at Berlin. He is a pianist and composer and has published a very large number of pieces (something like 150) among which it is quite possible more attractive selections could be found than those upon the present program; still, these are the best I know of his. His work is light, melodious, and pleasant to play. The list from Mr. Smith comprises several very pleasant pieces. The "Valse Menuet," opus 43, No. 1; the "Reverie at the Piano," a sort of song without words; the second, "Polka Caprice," which is very bright and pleasant; and the "Marche Fantastique," opus 73, which is more brilliant and diversified in its style than the others.

Mr. Ernest Kroeger is a native of St. Louis and received his education there. He has written a large number of pieces for the piano (eighty or more), many songs, and quite a list of chamber and orchestral compositions.

I have here three Sonnets. The first one is in G minor, a sort of cheerful nocturne, with nice melody and good musicianship. There is a vein of melancholy about it. The next one, allegretto in B minor, is very charming, and the last one is the strongest of all, I think. If a stronger representation of Mr. Kroeger's art is desired, his first suite for the piano can be taken.

Mr. Emil Liebling is better known as a teacher and pianist than as a composer, but it has been his good fortune to win high commendation for the few works he has published. He made his studies in composition under the late Heinrich Dorn, the same who was the master of Schumann in composition--though this may be no more than a coincidence. Mr.

Liebling, although born in Berlin, has resided in the United States for nearly thirty years. He is essentially American. The two Romances represent the most serious side of his work, in addition to which I have put on that very popular little scherzo, "Spring Song," and a very pleasing parlor waltz.

Mr. William Sherwood, the distinguished pianist, is not generally known as a composer, but in any other country than this his strong tendency toward composition would have found encouragement, and he would have been well known and probably as distinguished in this department as he is now in playing. I have placed Mr. Sherwood's compositions last because they are the strongest of any in the list, and also the most difficult; when well played they are very effective and deserve to be better known than has. .h.i.therto been the case.

The songs upon this program represent two other composers. At the head of the list are placed some highly impa.s.sioned compositions by Mr. Geo.

W. Chadwick, of Boston. Mr. Chadwick is one of the most accomplished American composers. From this set of songs, called "Told in the Gates," selections are to be made at the convenience of singers.

The collection, as a whole, is one of the most remarkable of recent times. It would be difficult to find twelve equally stirring songs in the whole repertory. The key-note is set by the very first song, "Sweetheart, Thy Lips are Touched with Flame," and in examining it one hardly knows what to admire most, the symphonic skill of the accompaniment, the placing of the emphasis for voice, or the intimate feeling for musical expression, which enables the composer to arrive at such thrilling effects. At the same time it is not a song for a timid singer or a timid player. The second one, "Sings the Nightingale to the Rose," is of a more quiet and reposeful character, well written.

The third, "The Rose Leans over the Pool," a delightful scherzando, in which playful spirit and skilful use of material combine to produce its effect. The fourth, "Love's Like a Summer Rose," is a very charming song indeed for more ordinary occasions; well within the resources of ordinary singers, but with an effect very unusual. The next, "As the Waves without Number," a baritone song with a very elaborate accompaniment and the usual masterly opportunity for the singer. "Dear Love, when in Thy Arms I Lie," a slow and very expressive melody, with a delightful bit of obligato in the first measures, where a 'cello would produce a charming effect; modeled a little after a song of Schumann's, "Poet's Love":

"Was I not Thine when Allah Spoke the Word Which Formed from Earth the Sky?"

A colossal song for baritone, having in it tenderness and most intense pa.s.sion.

"In Mead where Roses Bloom," adapted for mezzo-soprano.

"Sister Fairest, why Art Thou Sighing?" a gem adapted for the female voice.

"O Let Night Speak of Me," dedicated to Max Heinrich.

"I Said to the Wind of the South," dedicated to Miss Edmunds. A song for mezzo-soprano, beautifully done.

It is difficult to speak of these songs in any kind of adequate terms, because they represent what very rarely happens nowadays: a very perfect union of music and poetry. The poetry for its own part being singularly impressive and provocative of song; and the music, in turn, sympathetic, masterly, and equal to the occasion; considered, therefore, from an ideal point of view, as to the poetic expression of musical moods or as the musical expression of poetic moods, both alike retaining the deepest and strongest sentiments, nothing lately has pleased so well. All the poems are by Arlo Bates. It is a collection of songs which every American lover of music ought to possess.

The other songs I take from a set by Mr. Homer A. Norris, a young but very talented and promising composer. The first is called "Twilight,"

and a lovely piece it is.

PROGRAM.

Edgar S. Kelley: "The Flower Seekers."

"Confluentia."

Wilson G. Smith: Valse-Menuet, Opus 43, No. 1.

"Reverie at the Piano."

Second Polka Caprice.

Marche Fantastique.

Homer A. Norris, song: "Twilight."

E. R. Kroeger: Second, Third, and Fourth Sonnets.

Emil Liebling: Romance Dramatique.

"Spring Song,"

Madeleine Waltz.

Geo. W. Chadwick, songs: According to the taste and convenience of the singers.

Wm. H. Sherwood: Romance Appa.s.sionata, Opus 8.

Gypsy Dance, Opus 10.

Mazurka, Opus 6.

Scherzo Caprice, Opus 9.