Ballad for the pianoforte, dedicated to Mme. Fanny Bloomfield-Zeisler; a seriously made composition with a beautiful principal melody, cleverly developed, and a good deal of dramatic power in the working out of the middle part. A composition of considerable difficulty for the player, and also capable of very excellent effect when well done.
There are also four sketches—"In Autumn," "Dreaming," "Phantoms," "Fireflies." "In Autumn," a very sprightly composition in F-sharp minor, in a good 4/8 rhythm, capable of very charming effect. "Dreaming," a meditative sustained melody in the key of G-flat, resting upon a triplet motion in the middle part, with harmonies sensitively changing at unexpected places, capable of most beautiful effect; also an excellent study in cantabile. "Phantoms," a scherzo or quasi-mazurka, very sprightly and pleasing. "Fireflies," a very delightful study in thirds for the right hand, with novel and modern fingering; therefore extremely well adapted for study. This, when well done, must be very beautiful, but it is necessary that the thirds be played with the utmost lightness and equality. It is more difficult, and also more extended than either of the preceding, but extremely well worth attention.
There are also three interesting pieces not so difficult in their working out. First, there is a "Barcarolle" in G minor, opus 28, No. 1; a very attractive rhythm and an extremely attractive harmonic treatment. This is a piece to be played with pleasure by any amateur of taste. It is only of moderate difficulty, as, for instance, sixth grade. Perhaps a little less attractive, but more easy of execution, is the "Menuet Italien," No. 2 of the same opus as the preceding. This is remarkably well worked out, however. The third piece in the same opus is a waltz, "Dance of the Flowers," bright, sparkling, evanescent; clever for the piano, and attractive if well done.
Best of all, perhaps, is a "Romance for Violin and Piano," which is dedicated to Miss Maud Powell. This is a very delightful piece, and would make an admirable conclusion to a program. It requires good playing in all the parts.
With reference to these compositions by Mrs. Beach, it deserves to be said that they are not women's compositions. The musical spirit is unquestionable, the technic of developing ideas that of a well-trained artist, and the writing for the instrument that of an accomplished pianist. At the same time, Mrs. Beach makes no effort to be boisterous and to prove that she is a man by the brute force necessary to play her works. Unless I am very much mistaken, her music will have a much wider currency than it has yet received, because it deserves it.
CHAPTER IX.
MISCELLANEOUS PROGRAM BY AMERICAN COMPOSERS.
For the convenience of clubs and classes desiring programs not so difficult of performance and not confined to one or two composers, the following is offered, embracing examples from Messrs. Edgar S. Kelley, Wilson G. Smith, Homer A. Norris, E. R. Kroeger, Geo. W. Chadwick, and Mr. William Sherwood. All of these gentlemen have made thorough studies of composition and several of them have exercised themselves in the larger forms, including orchestral and chamber writing. This is particularly true of Messrs. Chadwick, Kroeger, and Kelley.
Mr. Edgar Stillman Kelley was born April 14, 1857. He is a native of Wisconsin, and was formerly a pupil of Mr. Clarence Eddy, after which he studied in Stuttgart. He has produced quite a large number of orchestral pieces but only a small number for the pianoforte alone. I believe that dramatic music is his main delight. He is also a lecturer upon musical subjects, bringing to his task a large amount of knowledge upon the subject and plenty of enthusiasm.