What other organizations have aided in musical progress in the United States?
What are the sources of Folk-Music in the United States? What use have composers made of this material?
Give a sketch of the Opera in the United States.
We advise that a somewhat detailed study of music in the United States be made, following the outline of this lesson, by the use of the reference works mentioned above. If there is time for this extra work, we advise that two lessons be made of this chapter and that pupils be assigned the duty of collecting additional material on the subject of the separate paragraphs. The work will be divided in this way and each pupil will have a personal interest. Old hymn-tune collections should be examined to find examples of the tunes used by our forefathers. Music representative of the various periods will be found in the books mentioned or indicated in other sources; both vocal and instrumental music should be performed at the recitations.
LESSON LVIII.
American Composers: Works in Large Instrumental Forms.
American Music Still Young.—Musical composition in the United States is still too young in comparison with the work of European composers to have made marked impress on history. American composers owe their training largely to European teachers, the models upon which they have based their work come from European art, and the principles of construction were developed by the European masters. Hence the disposition to view American composition as still in a state of pupilage. Yet the record shows a number of men who have done worthy work, many of them winning far more than a local reputation, and not a few enjoying international fame. And this work, especially such as is cast in the large forms, for orchestra, chamber-music or chorus with orchestra, is the product of the years since the close of the Civil War, a very short period, indeed, when compared with the story of composition in most of the European countries. It speaks volumes for the native capacity and sturdy industry of American composers that they have, in less than a half-century, won a high place in the use of the materials of musical composition and that they have so readily assimilated the work and teachings of European masters.
Paine.—The earliest composer in large instrumental forms was John K. Paine, born, Portland, Me., 1834, died 1906. In 1858, he went to Germany to study and gave particular attention to the organ. He quickly gained rank as the chief American organist, on his return to the United States, several years later. In 1862, he became connected with Harvard University as an instructor in music, a full professorship being created in 1875. His first important works were choral, with orchestral accompaniment. His first symphony was brought out in 1876, his second, called “Spring,” in 1880. Other large works for orchestra are a symphonic fantasy based on Shakespeare’s “Tempest,” a symphonic poem “An Island Fantasy,” the inspiration of which came from several paintings of marine scenes, and an overture to Shakespeare’s “As You Like It.” Prof. Paine’s large choral works are: a Mass in D, an oratorio “St. Peter,” music to “Œdipus Tyrannus,” “Phœbus, Arise,” “Nativity,” drawn from Milton, “Song of Promise,” hymns for the Centennial and Columbus Exhibitions, music to Aristophanes’ “Birds,” an opera “Azara,” besides organ compositions, chamber-music, songs and part-songs.
Gilchrist.—A composer whose training was entirely American is William W. Gilchrist, born in Jersey City, in 1846, a resident of Philadelphia for many years, where his professional activity has included important work as teacher of singing, and chorus conducting. His musical education was received mainly from Dr. H. A. Clarke, of the University of Pennsylvania. His compositions include a symphony, a suite for orchestra and a great deal of chamber-music. He has written a number of works for chorus with orchestra, his most notable being a setting of the Forty-sixth Psalm, to which was awarded a $1000 prize, offered by the Cincinnati Festival Association. His other compositions include choral works in smaller forms, with string or other accompaniment suited to chamber-music, part-songs, church music, and a number of fine songs. He is especially happy in writing for women’s voices.
W. W. Gilcrist. J. K. Paine. Horatio Parker.
Arthur Foote. Edward MacDowell. Mrs. H. H. A. Beach.
G. W. Chadwick.