IV
At the head of the list of America's lyricists there stands a name perhaps more illustrious than any other which she boasts—that of Ethelbert Nevin. To speak critically of the art of Nevin is a delicate and a difficult task. Its nature does not invite critical examination or demand extended analysis. Nevin's music, in its absence of decided intellectual qualities, presents no striking originalities of style, but remains throughout the simply spontaneous and unaffected utterance of a real and deeply musical nature. It possesses, nevertheless, a strongly individual style (often becoming, we must confess, a mannerism) and an irresistible charm. Moreover, the wide appeal which it has made must be sufficient proof of the real vitality that underlies the seemingly slight psysiognomy of this delicate lyricism. To the aspiring mind, in the presence of an expression so genuine, there must come a strong regret that with such poetical tenderness and grace there should not have been a vein of greater virility to have sounded a deeper note; one that would have played a more important part in the upbuilding of our national art. Despite the fact that the natural flow of Nevin's lyricism beguiled him continually along the lines of least resistance, his life's record was that of a very hard-working and conscientious artist.
Nevin was born near Pittsburgh in 1862. He had the advantage of early musical studies at home and abroad during a European sojourn of his family and he commenced his professional studies in 1881 under B. J. Lang and Stephen Emery in Boston. In 1884 he went to Berlin, where he worked diligently at his piano studies under Karl Klindworth. Returning home, two years later, he settled at Boston and taught, concertized, and followed more zealously his increasing inclination for composition. In 1891, after the publication of some of the songs and piano pieces which have since become so generally popular, Nevin's fame rapidly increased and he was able to indulge his taste for the roving life which he followed during the last ten years of his life, living at Paris, Berlin, Florence, Algiers, and elsewhere, with intervening visits to America, where he was heard in concerts of his own works. In the fall of 1900 Nevin settled at New Haven, where he died suddenly in February, 1901.
The list of Nevin's works comprises almost exclusively short songs and piano compositions. Exceptions to this are several choruses, two pieces for violin and piano, and a posthumously published cantata. That Nevin had larger ambitions in his later life is shown from certain of his letters and the sketches of larger works which he left unfinished. But as the result of his early habits of composition, of the too easy flow of his melody, and perhaps also of his too early successes he was kept within the confines of those miniature and delicate forms which he made his own domain. The characteristics of Nevin's music, as displayed in these works, are, first, a melodic sense which, though lacking in variety because of decided mannerisms that control it, is full of graceful charm and genuine lyrical quality; second, a harmonic sense ever more limited in its scope but of natural and moving expressiveness. Into the naïve fabric of this the composer contrived to instil a flavor which, if not decidedly original, had a strongly individual feeling.
The first of Nevin's works to reach any popularity was 'A Sketch Book,' published in 1888. Several of its numbers are still reckoned among the most popular of Nevin's works. This was followed by several similar albums of songs and piano pieces until 1891, when, in a book of piano pieces entitled 'Water Scenes,' he published what was to be a piece of world-wide popularity, 'Narcissus.' 'A Book of Songs' (1893) contains the best of Nevin's vocal works. Regarded as a whole, they lack a uniformity of style and despite Mr. Thompson's assertion[88] that Nevin felt but slightly the influences of other composers, these songs show decided traces of the stamp which the study of other writers put upon his work. Chopin is perhaps the prevailing influence that shows itself. Some of the songs of this group mark Nevin's nearest approach to a dramatic style. In parts of number seven of this group, entitled Nocturne, there is a considerable sweep of fiery strength, and the two entitled 'Orsola's Song' and 'In the Night' exhibit a virile content rarely present in Nevin's work. We need not speak of the more popular songs of Nevin, such as 'The Rosary,' 'Little Boy Blue,' ''Twas April,' and 'Mighty Lak' a Rose.' Their appeal lies largely in the sentimental though genuinely tender and deep touch of pathos which they contain.
Nevin's piano works are distinctly Chopinesque.
Suave and elegant figures, grateful to the player, abound in these works and show the hand of the skillful pianist that Nevin was. Some of these piano pieces have become quite as popular as have the songs, and the collections entitled 'In Arcady' and 'A Day in Venice' have been placed in the household répertoire.
Ethelbert Nevin made no claims for his art. Almost unconscious of the larger world of a more universal expression, which the past and present might have offered to him, he created his own limited world and lived therein. We shall mistake, however, if we judge too slightingly of this world as the dilettante expression of a mere précieux. Something there is of genius in a man who can speak to so many. Ethelbert Nevin was an ornament to American music and the fame of his works will outlive the bulk of our more esoteric art.
It is difficult to find a fitting name to follow that of Nevin. While we have had writers in the smaller forms who equalled and even surpassed Nevin in dramatic force, or in subtleties of construction, the remainder of our purely lyrical writers, it must be said, are on a considerably lower plane and there is lacking in the work of most of them the elegance and fastidiousness which bring these small works within the pale of art. The status of many American songs is—unfortunately with truth—described in Grove's Dictionary (Vol. IV, 'Song'), where it is said: 'Many other American composers whose songs, whilst enjoying a great popularity, descend almost to the lowest level of vocal music.'
Ethelbert Nevin.
After a photograph from life
There are, however, a good many men whose works are saved from this condemnation. Notable among these is Wilson G. Smith (born in 1855), whose songs and piano contributions, while they must perhaps be designated as salon pieces, possess, nevertheless, a genuine charm. Many of Smith's piano pieces are an intentional imitation of other composers, in which field he is particularly happy. Of his songs there are a number which have been much sung. Rupert Hughes, with a just critical sense, not always his, points out the excellence of Smith's song 'If I but Knew,' as especially notable.
Certain of Reginald de Koven's songs rival in popularity the light operas of that composer (see Chap. XV). After many years of use 'O Promise Me' still retains its place in the popular affections, as was demonstrated in the repeated encores demanded for it when it was interpolated in a recent revival of 'Robin Hood.' De Koven's lyricism, however, is of the lightest order and his failure to strike a deeper vein is well attested in the empty pomposity of his setting of Kipling's 'Recessional.'
A composer to whose songs Henry T. Finck in his 'Songs and Song Writers' gives a special place is Clayton Johns, of Boston (born 1857), who was a pupil of Paine and later studied two years at Berlin. Johns' songs number about one hundred. Mr. Finck finds in them a Franz-like quality and attributes their popularity to a simplicity without emptiness. Besides songs, Mr. Johns has written a few choruses and two pieces for string orchestra.
Frederick Field Bullard is another composer who wisely realized the natural limitations of his muse and devoted himself almost exclusively to song writing. His most successful song was his stirring and widely popular 'Stein Song,' which by its frequent use on all sorts of occasions has attached to itself somewhat the importance of a national song. Bullard's larger ambitions found expression in the ballad form, which he chose for a setting of Tennyson's melodrama 'The Sisters.'
W. H. Neidlinger (born in 1863) was a pupil of Dudley Buck. His long list of compositions comprises almost exclusively songs. The instinctive naïveté of Mr. Neidlinger's style has contributed to his success in a number of children's songs.
Of a larger mold and a more intensive beauty is the lyricism of Marcus Carroll, a composer Irish born but whose entire musical life has been spent in, and belongs to, America. Mr. Carroll's works include several short pieces for orchestra. There is an 'Intermezzo' of melodic and colorful beauty which was played by Anton Seidl, while a 'Dance of the Gnomes' and a 'Valse' have been often heard at the 'pop' concerts in Boston. Besides these there is a 'Romance' for 'cello and orchestra and some part-songs of which the charming cycle of songs for women's voices from Stevenson's 'Child's Garden of Verses,' entitled 'A Child's Day,' have been much sung. Mr. Carroll shows himself in these works to be a most gifted melodist. His style is sincere, straightforward, at times conventional, but there are a warmth of feeling and an abundance of color, grace, and vitality which render his work notably successful.
Another foreign-born composer who must be counted in the list of Americans is Edward Manning. Mr. Manning was born in Canada, but came early in life to New York where he studied with MacDowell. The greater part of Mr. Manning's compositions are songs, although there has lately come from his pen a trio for strings and piano which must take rank with the very best of American chamber music. Another larger work of Manning's is an aria, 'The Tryst,' for soprano and orchestra, which has been sung by Louise Homer. Manning has the essential and rare equipment of the real composer, the melodic gift. There is a strong Grieg flavor in his melodies and often in his harmonic treatment of them, but later songs show a tendency to a more advanced modernity.
Frank LaForge follows narrowly the path of the German lied composers. With no decided originalities, Mr. LaForge has written many highly artistic songs which often find place in song recital programs, especially in those of Mme. Gadski.
The name of Charles B. Hawley is one that for many years has figured largely on American singers' programs. Mr. Hawley has a true melodic vein which runs freely through a large number of songs. His harmonic treatment is, on the other hand, of the most conventional and there is nothing in his works to court criticism of an intimate order. Mr. Hawley in these characteristics stands as typical of quite a large group of American song writers. These composers write fluently, melodically, gracefully, and occasionally attain to a commanding lyrical eloquence, but for the greater part their work lacks distinction and flavor. Always too conventional, sometimes to a point of banality, it cannot contribute much to the upbuilding of a serious art in this country. The group thus described contains such writers as Victor Harris, C. W. Coombs, R. Huntington Woodman, Charles Gilbert Spross, James H. Rogers, Bruno Huhn, James W. Metcalfe, Ward Stephens, William G. Hammond, Franklin Riker, Oley Speaks, Jessie Gaynor, and Edna R. Parks.