=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.
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