Part 14 (1/2)
The cantata ”Vexilla Regis” is notable for its martial opening chorus, the ba.s.s solo, ”Where deep for us the spear was dyed,” and its scholarly and effective ending.
A lapidary's skill and delight for working in small forms belongs to Gerrit Smith. His ”Aquarelles” are a good example of his art in bijouterie. This collection includes eight songs and eight piano sketches. The first, ”A Lullaby,” begins with the unusual skip of a ninth for the voice. A subdued accentuation is got by the syncopation of the ba.s.s, and the yearning tenderness of the ending finishes an exquisite song. ”Dream-wings” is a graceful fantasy that fittingly presents the delicate sentiment of Coleridge' lyrics. The setting of Heine's ”Fir-tree” is entirely worthy to stand high among the numerous settings of this lyric. Smith gets the air of desolation of the bleak home of the fir-tree by a cold scale of harmony, and a bold simplicity of accompaniment. The home of the equally lonely palm-tree is strongly contrasted by a tropical luxuriance of interlude and accompaniment.
The sixth song is a delightful bit of brilliant music, but it is quite out of keeping with the poem. Thus on the words, ”Margery's only three,” there is a fierce climax fitting an Oriental declaration of despair. The last of these songs, ”Put by the Lute,” is possibly Smith's best work. It is superb from beginning to end. It opens with a most unhackneyed series of preludizing arpeggios, whence it breaks into a swinging lyric, strengthened into pa.s.sion by a vigorous contramelody in the ba.s.s. Throughout, the harmonies are most original, effective, and surprising.
Of the eight instrumental pieces in this book, the exquisite and fluent ”Impromptu” is the best after the ”Cradle Song,” which is drowsy with luscious harmony and contains a pa.s.sage come organo of such n.o.ble sonority as to put it a whit out of keeping with a child's lullaby.
Smith was born December 11, 1859, at Hagerstown, Md. His first instruction was gained in Geneva, N.Y., from a pupil of Moscheles. He began composition early, and works of his written at the age of fourteen were performed at his boarding-school. He graduated at Hobart College in 1876, whence he went to Stuttgart to study music and architecture. A year later he was in New York studying the organ with Samuel P. Warren. He was appointed organist at St. Paul's, Buffalo, and studied during the summer with Eugene Thayer, and William H.
Sherwood. In 1880 he went again to Germany, and studied organ under Haupt, and theory under Rohde, at Berlin. On his return to America he took the organ at St. Peter's, in Albany. Later he came to New York, where he has since remained continuously, except for concert tours and journeys abroad. He has played the organ in the most important English and Continental towns, and must be considered one of our most prominent concert organists. He is both a Master of Arts and a Doctor of Music. As one of the founders, and for many years the president, of the Ma.n.u.script Society, he was active in obtaining a hearing for much native music otherwise mute.
In addition to a goodly number of Easter carols, Christmas anthems, Te Deums, and such smaller forms of religious music, Smith has written a sacred cantata, ”King David.” Aside from this work, which in orchestration and in general treatment shows undoubted skill for large effort, Doctor Smith's composition has been altogether along the smaller lines.
The five-song'd opus 14 shows well matured lyric power, and an increase in fervor of emotion. Bourdillon's ”The Night Has a Thousand Eyes,” which can never be too much set to music, receives here a truly superb treatment. The interlude, which also serves for finale, is especially ravis.h.i.+ng. ”Heart Longings” is one of Mr. Smith's very best successes. It shows a free pa.s.sion and a dramatic fire unusual for his rather quiet muse. The setting of Bourdillon's fine lyric is indeed so stirring that it deserves a high place among modern songs. ”Melody”
is a lyric not without feeling, but yet inclusive of most of Smith's faults. Thus the prelude, which is a tritely flowing allegro, serves also for interlude as well as postlude, and the air and accompaniment of both stanzas are unvaried, save at the cadence of the latter stanza. The intense poesy of Anna Reeve Aldrich, a poetess cut short at the very budding of unlimited promise, deserved better care than this from a musician. Two of Smith's works were published in Millet's ”Half-hours with the Best Composers,”--one of the first substantial recognitions of the American music-writer. A ”Romance,” however, is the best and most elaborate of his piano pieces, and is altogether an exquisite fancy. His latest work, a cycle of ten pieces for the piano, ”A Colorado Summer,” is most interesting. The pieces are all lyrical and simple, but they are full of grace and new colors.
[Music: Spring.
Words by Alfred Tennyson.
GERRIT SMITH, OP. 13, NO. 4.
Bird's love and bird's song, Flying here and there, Bird's song and bird's love, And you with gold for hair.
Bird's song and bird's love, Pa.s.sing with the weather, Men's song and men's love, To love once and forever.
Copyright, 1894, by Arthur P. Schmidt.
A FRAGMENT.]
But Smith's most individual work is his set of songs for children, which are much compared, and favorably, with Reinecke's work along the same lines. These are veritable masterpieces of their sort, and they are mainly grouped into opus 12, called ”Twenty-five Song Vignettes.”
So well are they written that they are a safe guide, and worthy that supreme trust, the first formation of a child's taste. Even dissonances are used, sparingly but bravely enough to give an idea of the different elements that make music something more than a sweetish impotence. They are vastly different from the horrible trash children are usually brought up on, especially in our American schools, to the almost incurable perversion of their musical tastes. They are also so full of refinement, and of that humor without which children cannot long be held, that they are of complete interest also to ”grown-ups,”
to whom alone the real artistic value of these songs can entirely transpire. Worthy of especial mention are the delicious ”Stars and Angels;” the delightful ”A Carriage to Ride In;” ”Good King Arthur,” a captivating melody, well built on an accompaniment of ”G.o.d Save the King;” ”Birdie's Burial,” an elegy of the most sincere pathos, quite worthy of a larger cause,--if, indeed, any grief is greater than the first sorrows of childhood; the surprisingly droll ”Barley Romance;”
”The Broom and the Rod,” with its programmatic _glissandos_ to give things a clean sweep; and other delights like the ”Rain Song,” ”The Tomt.i.t Gray,” ”Mamma's Birthday,” and ”Christmas at the Door.” To have given these works their present value and perfection, is to have accomplished a far greater thing than the writing of a dozen tawdry symphonies.
One of the most outrageously popular piano pieces ever published in America was Homer N. Bartlett's ”Grande Polka de Concert.” It was his opus 1, written years ago, and he tells me that he recently refused a lucrative commission to write fantasies on ”Nearer My G.o.d to Thee” and ”The Old Oaken Bucket”! So now that he has reformed, grown wise and signed the musical pledge, one must forgive him those wild oats from which he reaped royalties, and look to the genuine and sincere work he has latterly done. Let us begin, say, with opus 38, a ”Polonaise” that out-Herods Chopin in bravura, but is full of vigor and well held together. A ”Dance of the Gnomes,” for piano, is also arranged for a s.e.xtet, the arrangement being a development, not a bare transcription.
There are two mazurkas (op. 71), the first very original and happy.
”aeolian Murmurings” is a superb study in high color. A ”Caprice Espanol” is a bravura realization of Spanish frenzy. It has also been brilliantly orchestrated. Two songs without words make up opus 96: while ”Meditation” shows too evident meditation on Wagner, ”A Love Song” gets quite away from musical bourgeoisery. It is free, spirited, even daring. It is patently less devoted to theme-development than to the expression of an emotion. This ”Love Song” is one of the very best of American morceaux, and is altogether commendable.
Opus 107 includes three ”characteristic pieces.” ”The Zephyr” is dangerously like Chopin's fifteenth Prelude, with a throbbing organ-point on the same A flat. On this alien foundation, however, Bartlett has built with rich harmony. The ”Harlequin” is graceful and cheery. It ends with Rubinstein's sign and seal, an arpeggio in sixths, which is as trite a musical finis as fiction's ”They lived happily ever afterward, surrounded by a large circle of admiring friends.”
Three mazurkas const.i.tute opus 125. They are closely modelled on Chopin, and naturally lack the first-handedness of these works, in which, almost alone, the Pole was witty. But Bartlett has made as original an imitation as possible. The second is particularly charming.
In ma.n.u.script is a Prelude developed interestingly on well-understood lines. There is a superb ”Reverie Poetique.” It is that climax of success, a scholarly inspiration. To the meagre body of American scherzos, Bartlett's scherzo will be very welcome. It is very festive and very original. Its richly harmonized interlude shows a complete emanc.i.p.ation from the overpowering influence of Chopin, and a great gain in strength as well as individuality.
In his songs Bartlett attains a quality uniformly higher than that of his piano pieces. ”Moonbeams” has many delicacies of harmony.
”Laughing Eyes” is a fitting setting of Mr. ”Nym Crinkle” Wheeler's exquisite lyric. ”Come to Me, Dearest,” while cheap in general design, has fine details.
It makes me great dole to have to praise a song about a brooklet; but the truth is, that Bartlett's ”I Hear the Brooklet's Murmur” is superbly beautiful, wild with regret,--a n.o.ble song. It represents the late German type of _Lied_, as the earlier heavy style is exemplified in ”Good Night, Dear One.” Very Teutonic also is the airiness and grace of ”Rosebud.”