A symphony in F (opus 23), twice rewritten but not yet performed, contains a slow movement that represents the composer at his highest level of contemplative beauty. The overture 'Paolo and Francesca' (opus 21) marks a departure from his usual absolutism; it is a work of large dimensions and great warmth of feeling, and made a deep impression upon the listeners when performed by the Theodore Thomas Orchestra on January 17-18, 1908. The same orchestra has given performances of Oldberg's 'Academic Overture,' written for the Northwest University at Evanston, Ill., a 'Theme and Variations' (opus 19), and a set of 'Symphonic Variations,' for organ and orchestra (opus 35), the variation form being one in the possibilities of which Oldberg has great faith. An almost uniform success has followed these various performances. A second symphony, in C minor (opus 34) has followed the first in F, and there is a recent 'Orchestral Rhapsody' (opus 36). An 'Arabesque' for piano (opus 31) shows the composer in a new vein. The admirable 'Symphonic' concerto for piano and orchestra (opus 17), and the horn concerto (opus 20), are almost entirely unknown. There are besides these works a considerable number of piano works, a sonata (opus 28) of great lyrical charm, a very extraordinary set of 'Thematic Variations,' a poetic and stirring 'Legend,' a set of three beautiful and highly interesting 'Miniatures,' and various other works.
Mr. Oldberg was born at Youngstown, Ohio, in 1874. He is of Norse extraction, being of the third generation on American soil, and holds the chair of music at the Northwestern University.
Much space would be required in which to give an adequate account of the creative activities of Henry Hadley (b. 1871), one of the most spontaneous and prolific of American composers, and one of the best known, at home and abroad.
By temperament and choice of subject matter Hadley places himself in the ranks of the romanticists, but his tenacious loyalty to the symphonic form, among a wide variety of other forms, bespeaks a neo-classical leaning and is scarcely to be explained by a mere desire to essay expression in all forms. Moreover, while in orchestral technique Hadley is a student and, in some sort, a disciple of Richard Strauss, unlike that composer he inclines, in his orchestral works other than symphonic, to the overture form rather than the less closely knit 'tone-poem.' In orchestral realism he follows Strauss but a short way, eschewing violence and holding a rather unique middle course between realism and impressionism; something more than impressionist merely, a suggestive realist he might be termed.
Everywhere in Hadley's music is energy, fancy, the spirit of youth. It bubbles and glints, running an inexhaustible gamut of varying tints and ingenious and poetic tonal designs. It is the music of immense enjoyment of objective life, of actions, sights, emotions. Too eager and full of action to be deeply reflective, too happy to be philosophic, it is the part of Hadley's music to quicken the sense of life and of delight in the teeming visible world about us. Sombre, pensive, or bleak it may be at times, according to the composer's expressive need, but it is the tone-poet's fancy that decrees it, never a confession of Weltschmerz on the composer's part.
The first symphony, 'Youth and Life' (opus 25), is highly characteristic of the buoyancy, the nervous energy, and the imaginative fertility of the composer. The second, 'The Four Seasons' (opus 30), is a delicate balance, within the classical form, of romanticism, impressionism, and symbolism. It is romanticism that predominates, however, although such distinct impressions as those of wintry blasts and falling autumn leaves are happy and noteworthy features of the work. The languor and sun-warmed luxuriance of mid-summer finds poignant and beautiful expression. The third symphony, in B minor (opus 60), seems to be less well known than the others. The fourth symphony, 'North, East, South, West' (opus 64), was received with enthusiasm when produced under the direction of the composer at a meeting of the Litchfield County Choral Union, on June 6, 1911. Hadley indulges in a little aboriginal Americanism in the 'South' and 'West' movements, though his only definitely discernible 'nationalism' lies in his inherent temperamental character. The four symphonies reveal a constantly progressive growth in modern harmonic vision and in orchestral mastery. The only American composer to enter the field of symphonic conducting as a profession, Hadley, in his technical development, has made the most of his contact with the orchestra.
There are three overtures, 'Hector and Andromache,' the jubilant 'In Bohemia,' and one of sombre character to Stephen Phillips' 'Herod.' A tone-poem, 'Salome,' finds him at his nearest to Strauss in ideals, even if not in style. His most recent orchestral work, produced in 1914, is entitled 'Lucifer.' From earlier days are several 'Ballet Suites,' an 'Oriental Suite' and a 'Symphonic Fantasie.' The still more recent 'Culprit Fay,' after Rodman Drake's poem, has won various and deserved honors. Hadley's one grand opera, 'Safie,' dating from his incumbency as opera conductor in Mainz, Germany, was produced there on April 4, 1909, but has not been heard in America. There are songs in great number and variety, several cantatas, a number of works in different small forms, and considerable church music.
Hadley is a native of Massachusetts, and comes of a musical family. Among his teachers are, first, his father, and later Chadwick in Boston and Mandyczewski in Vienna. He has several times been a prize-winner with his compositions, the second symphony winning the Paderewski Prize and one offered by the New England Conservatory, both in 1901, and the 'Culprit Fay' winning the National Federation of Musical Clubs' Prize in 1909. Mr. Hadley became conductor of the Seattle Symphony Orchestra in 1909 and the San Francisco Orchestra in 1911, which latter post he still holds.