(5) Organists and Church Composers. It may be boldly asserted that America concedes the palm to none in the art of organ playing. Such is the skill in registration demanded in these days that that art is practically assuming the dignity of orchestration. This demand has been largely brought about by the need of finding an adequate substitute for concert orchestras. As a result, not only the large cities but almost every town in the Union possesses one or more modern organs presided over by executants of marked ability. In most cases these men devote themselves to church composition as well. Almost all the composers whose careers we have just been reviewing count church playing and church composition among their accomplishments. The only notable exception is MacDowell, who is, instead, a virtuoso pianoforte player. This is not the place to examine into the work of our many excellent church organists and composers. One is confronted by notable names wherever one turns. In Boston, Warren A. Locke has for many years held undisputed authority in matters pertaining to church services and boy choirs. Whitney and Whiting have done similar good work. Of the younger men, J. Wallace Goodrich displays an astounding technique, unexcelled either in this country or in France. The high standard of Episcopal church music in New York is due to such men as Samuel P. Warren, Richard H. Warren, Stubbs, Hall, etc. Among the prominent soloists are Eddy, Archer,[115] and Gerrit Smith. Shelley (1858) is widely known for his church compositions. He has also written large works such as the oratorio "The Inheritance Divine," but owes his popularity primarily to pleasing though rather conventional songs. Another prominent church composer is Jules Jordan of Providence, whose interest is centered chiefly in oratorio. N.H. Allen, Marston, Hanscom and Coombs should also be mentioned under this heading.
(6) Teachers and Theorists. Teachers and theorists have found a fertile field in the United States, and in scientific educational matters the native American easily takes the lead. Already a dignified array of theoretical and pedagogical books have been added to the literature of music by such authors as A.J. Goodrich, A.R. Parsons, Goetschius, Wilson G. Smith, Matthews, Chadwick, Benjamin Cutter, Spalding, Norris. American teachers have won recognition in Europe as well. Goetschius found occupation in Stuttgart; Boise was for years an authority in Berlin.
(7) School and College. Of late, increased attention has been bestowed upon the study of music in the college curriculum. Harvard's lead is being followed, and chairs of music have been established on every hand. Harvard has been obliged to increase its staff of musical instructors, so that Paine is now assisted by Spalding and Converse.[116] Excellent work is being done by Parker at Yale, Lewis at Tufts, Gow at Vassar, Macdougall at Wellesley, Chadwick at the New England Conservatory, Pratt at the Hartford Theological Seminary. At Columbia, MacDowell has been succeeded by Rübner, who is ably seconded by McWhood. Smith College was one of the pioneers in musical affairs, being represented until recently by Blodgett, who was possessed of a peculiarly magnetic power. One of his prominent lieutenants, who is still in active service at Smith, is the pianoforte teacher and pedagogue, Edwin B. Story. He is one of the most fluent accompanists in the country. The enterprise of these college professors is making itself felt in the preparatory schools of the country, whereby the entire artistic morale of the public at large is being elevated. Credit is also due to the sound principles inoculated into the teaching of music in the public schools by such men as Frank Damrosch in New York or Tomlins in Chicago.
The writer has intentionally overstepped the bounds of orchestral composition for the purpose of emphasizing the prodigious activity displayed by our professional brethren on every hand. Throughout these pages there runs an undercurrent of discontent provoked by the listless attitude of the American public taken as a whole. The fickleness of their support seems to be at the root of our troubles. Everything conceivable is being done for this public. Music in the schools is encouraged. The colleges are alive to the needs of the hour. Many of our composers are sacrificing their inner convictions on the altar of patriotism with the determination to write simply. Music lovers and philanthropists are enlisted in the cause. A high musical standard for religious worship is maintained. Orchestral performances can be listened to at moderate cost. Such renditions are as good as, frequently better than, those in Europe. How is it, then, that so many choral societies flourish for a few seasons, only to eventually die a lingering death? Buffalo's Symphony Orchestra is no more. Other cities have allowed similar mortifying conditions to come to pass.
On the other hand, the singer or the instrumental virtuoso reaps rewards that are out of all proportion to the tardy recognition and modest remuneration awarded to their colleagues—the composers, conductors, and organists—who are almost invariably possessed of an artistic education far superior to that of the soloist. A Rossinian era would appear to have reasserted itself! The larger number of these soloists are themselves rarely patriotic, for only with difficulty can they be persuaded to sing or perform even the finest of American productions. Orchestral conductors who come to our shores from abroad soon perceive that the public does not support home talent in a whole-hearted manner, and adjust their programs accordingly. With a few notable exceptions, they too are disloyal. Again, the worthy efforts of our comparatively few eminent newspaper critics in behalf of the American composer are constantly counteracted by the superficial and bombastic criticisms of their lesser brethren.
The American composer is to-day ready to enter the lists against the entire world. His own countrymen are impeding him. It is high time that the American public awake out of its lethargy!
([Summary] on [page 180].)