Schumann's Popularity in America
Americans seem to be particularly fond of Schumann. When artists are engaged for concert performances it is the custom in this country to present optional programs to the managers of the local concert enterprises. These managers represent all possible kinds of taste. It is the experience of most concert artists that the Schumann selections are almost invariably chosen. This is true of the West as well as of the South and East. One section of the program is without exception devoted to what they call classical songs and by this they mean the best songs rather than the songs whose chief claim is that they are from the old Italian schools of Carissimi, Scarlatti, etc. I make it a special point to present as many songs as possible with English words. The English language is not a difficult language in which to sing; and when the translation coincides with the original I can see no reason why American readers who may not be familiar with a foreign tongue should be denied the privilege of understanding what the song is about. If they do not understand, why sing words at all? Why not vocalize the melodies upon some vowel? Songs, however, were meant to combine poetry and music; and unless the audience has the benefit of understanding both, it has been defrauded of one of its chief delights.
Some German poems, however, are almost untranslatable. It is for this reason that many of the works of Löwe, for instance, have never attained wide popularity. The legends which Löwe employed are often delightful, but the difficulties of translation are such that the original meaning is either marred or destroyed. The songs or ballads of Löwe, without the words, do not seem to grasp American audiences and singers find it a thankless task to try to force them upon the public.
I have been so long in America that I feel it my duty to share in popularizing the works of the many talented American composers. I frequently place MacDowell's beautiful songs on my programs; and the works of many other American composers, including Mrs. H. H. A. Beach, Sidney Homer, Frank Le Forge and others make fine concert numbers. It has seemed to me that America has a large future in the field of lyric composition. American poets have long since won their place in the international Hall of Fame. The lyrical spirit which they have expressed verbally will surely be imbued in the music of American composers. The opportunity is already here. Americans demand the best the world can produce. It makes no difference what the nationality of the composer. However, Americans are first of all patriotic; and the composer who produces real lyric masterpieces is not likely to be asked to wait for fame and competence, as did Schubert and Schumann.
