For the voice, there is, of course, a setting of "Du bist wie eine Blume," which, save for the fact that it looks as if the accompaniment were written first, is a very pure piece of writing. The "Song of the Syrens" is a strong composition with a big climax, the "Jessamine Bud" is extremely delicate, and "They that Sow in Tears" has much dignity. There are two songs from Tennyson, "There is Sweet Music Here" and "Home They Brought Her Warrior Dead," with orchestral accompaniment.
By all odds the most important, and a genuinely improved composition is the aria for soprano and orchestra, "The Death of Cleopatra." The words are taken from Shakespeare's play and make use of the great lines given to the dying Egypt, "Give me my robe, put on my crown, I have immortal longings in me," and the rest. The music not only pays all due reverence to the sacred text, but is inspired by it, and reaches great heights of fervor and tragedy. From Shakespeare, Huss drew the afflation for another aria of great interest, a setting for barytone voice of the "Seven Ages of Man." The problems attending the putting to music of Shakespeare's text are severe; but the plays are gold mines of treasure for the properly equipped musician.
A vivid example of the difficulties in the way of American composers' securing an orchestral hearing is seen in the experience of Howard Brockway, who had a symphony performed in 1895 by the Berlin Philharmonic Orchestra, and has been unable to get a hearing or get the work performed in America during the five years following, in spite of the brilliancy of the composition. The scoring of the work is so mature that one can see its skill by a mere glance at the page from a distance. When the work was performed in Germany, it was received with pronounced favor by the Berlin critics, who found in it a conspicuous absence of all those qualities which the youth of the composer would have made natural.
Brockway was born in Brooklyn, November 22, 1870, and studied piano with H.O.C. Kortheuer from 1887 to 1889. He went to Berlin at the age of twenty and studied the piano with Barth, and composition with O.B. Boise, the transplanted American. Boise gave Brockway so thorough a training that he may be counted one of the most fluent and completely equipped American composers. At the age of twenty-four he had finished his symphony (op. 12), a ballade for orchestra (op. 11), and a violin and piano sonata (op. 9), as well as a cavatina for violin and orchestra. These, with certain piano solos, were given at a concert of Brockway's own works in February, 1895, at the Sing-Akademie. His works were accepted as singularly mature, and promising as well. A few months later, Brockway returned to New York, where he has since lived as a teacher and performer.
His symphony, which is in D major, is so ebullient with life that its dashing first subject cannot brook more than a few measures of slow introduction. The second subject is simpler, but no less joyous. The thematic work is scholarly and enthusiastic at the same time. The different movements of the symphony are, however, not thematically related, save that the coda of the last movement is a reminiscence of the auxiliary theme of the first movement. The andante, in which the 'cellos are very lyrical, is a tender and musing mood. The presto is flashing with life and has a trio of rollicking, even whooping, jubilation. The finale begins gloomily and martially, and it is succeeded by a period of beauty and grace. This movement, in fact, is a remarkable combination of the exquisitest beauty and most unrestrained prowess.
Another orchestral work of great importance in American music is the "Sylvan Suite" (op. 19), which is also arranged for the piano. In this work the composer has shown a fine discretion and conservation in the use of the instruments, making liberal employment of small choirs for long periods. The work is programmatic in psychology only. It begins with a "Midsummer Idyl," which embodies the drowsy petulance of hot noon. The second number is "Will o' the Wisps." In this a three-voiced fugue for the strings, wood, and one horn has been used with legitimate effect and most teasing, fleeting whimsicality. The third movement is a slow waltz, called "The Dance of the Sylphs," a very catchy air, swaying delicately in the bassoons and 'cello; a short "Evening Song" is followed by "Midnight." This is a parade that reminds one strongly of Gottschalk's "Marche de Nuit." The march movement is followed by an interlude depicting the mystery of night, as Virgil says, "tremulo sub lumine." The composer has endeavored to indicate the chill gray of dawn by the ending of this movement: a chord taken by two flutes and the strings shivering sul ponticello. The last movement is "At Daybreak." Out of the gloom of the bassoons grows a broad and general luminous song followed by an interlude of the busy hum of life; this is succeeded by the return of the sunrise theme with a tremendously vivacious accompaniment.
Other works of Brockway's are: a cantata, a set of variations, a ballade, a nocturne, a Characterstück, a Fantasiestück, a set of four piano pieces (op. 21), and two piano pieces (op. 25). All of these, except the cantata, have been published. Two part songs and two songs with piano accompaniment have also been published; a violin sonata, a Moment Musicale, and a romanza for violin and orchestra have been published in Berlin.
These works all show a decided tendency to write brilliant and difficult music, but the difficulties are legitimate to the effect and the occasion. The [Ballade] works up a very powerful climax; the Scherzino swishes fascinatingly; and the Romanza for piano is a notably mature and serious work.
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