Parker's piano compositions and secular songs are not numerous. They seem rather the incidental byplays and recreations of a fanry chiefly turned to sacred music of the larger forms.
Opus 19 consists of "Four Sketches," of which the "Étude Melodieuse" is as good as is necessary in that overworked style, wherein a thin melody is set about with a thinner ripple of arpeggios. The "Romanza" is lyric and delightful, while the "Scherzino" is delicious and crisp as celery; it is worthy of Schumann, whom it suggests, and many of whose cool tones and mannerisms it borrows.
The "5 Morceaux Charactéristiques" are on the whole better. The "Scherzo" is shimmering with playfulness, and, in the Beethoven fashion, has a tender intermezzo amoroso. This seriousness is enforced with an ending of a most plaintive nature. The "Caprice" is brilliant and whimsical, with some odd effects in accent. The "Gavotte" makes unusual employment of triplets, but lacks the precious yeast of enthusiasm necessary to a prime gavotte.
This enthusiasm is not lacking however from his "Impromptu," and it makes his "Elégie" a masterly work, possibly his best in the smaller lines. This piece is altogether elegiac in spirit, intense in its sombrest depths, impatient with wild outcries,—like Chopin's "Funeral March,"—and working up to an immense passion at the end. This subsides in ravishingly liquid arpeggios,—"melodious tears"?—which obtain the kindred effect of Chopin's tinkling "Berceuse" in a slightly different way. This notable work is marred by an interlude in which the left hand mumbles harshness in the bass, while the right hand is busy with airy fioriture. It is too close a copy of the finish of the first movement of Beethoven's "Moonlight" sonata. The lengthening skips of the left hand are also Beethovenesque trademarks.
Parker is rather old-fashioned in his forms of musical speech. That is, he has what you might call the narrative style. He follows his theme as an absorbing plot, engaging enough in itself, without gorgeous digressions and pendent pictures. His work has something of the Italian method. A melody or a theme, he seems to think, is only marred by abstruse harmony, and is endangered by diversions. One might almost say that a uniform lack of attention to color-possibilities and a monotonous fidelity to a cool, gray tone characterize him. His fondness for the plain, cold octave is notable. It is emphasized by the ill-success of his "Six Lyrics for Piano, without octaves." They are all of thin value, and the "Novelette" is dangerously Schumannesque.
The "Three Love Songs" are happy, "Love's Chase" keeping up the arch raillery and whim of Beddoe's verse. "Orsame's Song" is smooth and graceful, ending with a well-blurted, abrupt "The devil take her!" The "[Night-piece to Julia]" is notable. We have no poet whose lyrics are harder to set to music than good Robin Herrick's. They have a lilt of their own that is incompatible with ordinary music. Parker has, however, been completely successful in this instance. A mysterious, night-like carillon accompaniment, delicate as harebells, gives sudden way to a superb support of a powerful outburst at the end of the song.
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Copyright, 1886, by Arthur P. Schmidt & Co.