The Americans

by Hugo Münsterberg

The history of music in America has shown what can be attained by endowment—how the public demand can be educated so that even the very best art will finally be self-supporting. The development of the Boston Symphony Orchestra, which is still the best musical organization in the country, is thoroughly typical. It was realized that symphony concerts, like the best given in Germany, would not be self-supporting, in view of the deficient musical education of the country. In 1880 Boston had two symphony orchestras, but both were of little account. They were composed of over-busied musicians, who could not spare the time needed for study and rehearsals. Then one of the most liberal and appreciative men of the country, Henry Lee Higginson, came forward and engaged the best musicians whom he could find, to give all their time and energy to an orchestra; and he himself guaranteed the expenses. During the first few years he paid out a fortune annually, but year by year the sum grew less, and to-day Boston so thoroughly enjoys its twenty-four symphony concerts, which are not surpassed by those of any European orchestra, that the large music-hall is too small to hold those who wish to attend. This example has been imitated, and now New York, Chicago, Philadelphia, and other cities have excellent and permanent orchestras.

Likewise various cities, but especially New York, enjoy a few weeks of German, French, and Italian opera which is equal to the best opera in Europe, by a company that brings together the best singers of Europe and America. In the case of opera the love of music has prevailed over the prejudice against the theatre. Extraordinarily high subscriptions for the boxes, and a reduced rental of the Metropolitan Opera House, which was erected by patrons of art, have given brilliant support to the undertaking. Without going into questions of principle, an impartial friend of music must admit that even the performances of Parsifal were artistically not inferior to those of Bayreuth, and the audience was quite as much in sympathy with the great masterpiece as are the assemblages of tourists at Bayreuth. The artistic education proceeding from these larger centres is felt through the entire country, and there is a growing desire for less ambitious but permanent opera companies.

The symphony and the opera are not the only evidences of the serious love of music in America. Every large city has its conservatory and its surplus of trained music teachers, and almost every city has societies which give oratorios, and innumerable singing clubs, chamber concerts, and regular musical festivals. Even the concerts by other soloists than that fashionable favourite of American ladies, Paderewski, are well attended. And these are not new movements; opera was given in New York as early as 1750, and the English opera of the eighteenth century was followed in 1825 by Italian opera. Also Baltimore, Philadelphia, and New Orleans early developed a love for music.

Boston has been the great centre for oratorio. The Händel and Haydn Society dates from 1810, and in 1820 a great many concerts were given all through the East, even in small towns. And the influence of the musical Germans was strongly felt by the middle of the century. The Germania Orchestra of Boston was founded in 1848, and now all the Western cities where German influences are strong, such as Milwaukee, Cincinnati, Chicago, and St. Louis, are centres of music, with many male choruses and much private cultivation of music in the home.

The churches, moreover, are a considerable support to music. The Puritan spirit disliked secular music no less than the theatre; but the popular hymns were always associated with the service of God, and so the love for music grew and its cultivation spread. Progress was made from the simplest melodies to fugue arrangements; organs and stringed instruments were introduced; the youth was educated in music, and finally in the last century church worship was made more attractive by having the best music obtainable. And thus, through the whole country, chorus and solo singing and instrumental skill have been everywhere favoured by the popular religious instinct.

So much for the performance of music. Musical composition has not reached nearly such a high point. It is sufficient to look over the programmes of recent years. Wagner leads among operatic composers, then follow Verdi, Gounod, and Mozart; Beethoven is the sovereign of the concert-hall, and The Messiah and The Creation are the most popular oratorios. Sometimes a suspicion has been expressed that American composers must have been systematically suppressed by the leading German conductors like Damrosch, Seidl, Gericke, Thomas, and Paur. But this is not remotely true. The American public is much more to be blamed; for, although so patriotic in every other matter, it looks on every native musical composition with distrust, and will hardly accept even the American singer or player until he has first won his laurels in Europe.

Still, there has been some composition in America. There were religious composers in the eighteenth century, and when everything English was put away at the time of the Revolution, the colonists replaced the psalm-tunes which they had brought over with original airs. Billings and his school were especially popular, although there was an early reaction against what he was pleased to call fugues. The nineteenth century brought forth little more than band-master music, with no sign of inspiration in real orchestral or operatic music. Only lately there have stepped into the field such eminent composers as MacDowell, Paine, Chadwick, Strong, Beech, Buck, Parker, and Foot. Paine’s opera of “Azara,” Chadwick’s overtures, and MacDowell’s interesting compositions show how American music will develop.

More popular was a modest branch of musical composition, the song in the style of folk-songs. America has no actual folk-songs. The average European imagines “Yankee Doodle” to be the real American song, anonymous and dreadful as it is, and in diplomatic circles the antiquated and bombastic “Hail Columbia” is conceived to be the official hymn of America. The Americans themselves recognize neither of these airs. The “Star Spangled Banner” is the only song which can be called national; it was written in 1814 to an old and probably English melody. The Civil War left certain other songs which stir the breast of every patriotic American.

On the other hand, folk-songs have developed in only one part of the country—on the Southern plantations—and with a very local colouring. The negro slaves sang these songs first, although it is unlikely that they are really African songs. They seem to be Irish and Scotch ballads, which the negroes heard on the Mississippi steamboats. Baptist and Methodist psalm-tunes and French melodies were also caught up by the musical negroes and modified to their peculiar melody and rhythm. A remarkable sadness pervades all these Southern airs.

Many song composers have imitated this most unique musical product of the country. In the middle of the century Stephen Foster rose to rapid popularity with his “Old Folks at Home,” which became the popular song, rivalled only by “Home Sweet Home,” which was taken from the text of an American opera, but of which the melody is said to have originated in Sicily. There are to-day all sorts of composers, some in the sentimental style and others in the light opera vein, whose street tunes are instantly sung, whistled and played on hurdy-gurdies from the Atlantic to the Pacific, and, worst of all, stridently rendered by the graphophones, with megaphone attachments, on verandahs in summer. There are composers of church hymns, of marches à la Sousa, and writers of piano pieces by the wholesale. All serious musicians agree that the American, unlike the Englishman, is decidedly musically inclined, but he is the incontestable master of only a very modest musical art—he can whistle as nobody else.