Of his cantatas, "Hesperus" is a work of the greatest promise and large performance.

For male voices Brewer has written a cantata called "The Birth of Love." Its fiery ending is uncharacteristic, but the beautiful tenor solo and an excellent ba.s.s song prove his forte to lie in the realm of tenderness. Brewer's music has little fondness for climaxes, but in a tender pathos that is not tragedy, but a sort of lotos-eater's dreaminess and regret, he is congenially placed. Smoothness is one of his best qualities.

Out of a number of part songs for men, one should mark a vigorous "Fisher's Song," a "May Song," which has an effective "barber's chord," and "The Katydid," a witty realization of Oliver Wendell Holmes' captivating poem. His "Sensible Serenade" has also an excellent flow of wit. Both these songs should please glee clubs and their audiences.

For women's voices Brewer has written not a little. The best of these are "Sea Shine," which is particularly mellow, and "Treachery," a love-scherzo.

For the violin there are two pieces: one, in the key of D, is a duet between the violin and the soprano voice of the piano. It is full of characteristic tenderness, full even of tears. It should find a good place among those violin ballads of which Raff's Cavatina is the best-known example. Another violin solo in A is more florid, but is well managed. The two show a natural apt.i.tude for composition for this favorite of all instruments.

For full orchestra there is a suite, "The Lady of the Lake," also arranged, for piano and organ. It is smooth and well-tinted. A s.e.xtet for strings and flute has been played with favor.

Brewer's chief success lies along lines of least resistance, one might say. His Alb.u.m of Songs (op. 27) is a case in point. Of the subtle and inevitable "Du bist wie eine Blume," he makes nothing, and "The Violet" forces an unfortunate contrast with Mozart's idyl to the same words. But "Meadow Sweet" is simply iridescent with cheer, a most unusually sweet song, and "The Heart's Rest" is of equal perfection.

The best-abused composer in America is doubtless Reginald de Koven.

His great popularity has attracted the search-light of minute criticism to him, and his accomplishments are such as do not well endure the fierce white light that beats upon the throne. The sin of over-vivid reminiscence is the one most persistently imputed to him, and not without cause. While I see no reason to accuse him of deliberate imitation, I think he is a little too loth to excise from his music those things of his that prove on consideration to have been said or sung before him. Instead of crying, "_Pereant qui ante nos nostra cantaverunt_," he believes in a live-and-let-live policy. But ah, if De Koven were the only composer whose eraser does not evict all that his memory installs!

De Koven was born at Middletown, Conn., in 1859, and enjoyed unusual advantages for musical study abroad. At the age of eleven, he was taken to Europe, where he lived for twelve years. At Oxford he earned a degree with honors. His musical instructors include Speidel, Lebert, and Pruckner, at Stuttgart, Huff the contrapuntist at Frankfort, and Vannucini, who taught him singing, at Florence. He made also a special study of light opera under Genee and Von Suppe. He made Chicago his home in 1882, afterward moving to New York, where he served as a musical critic on one of the daily papers for many years.

De Koven has been chief purveyor of comic opera to his generation, and for so ideal a work as "Robin Hood," and such pleasing constructions as parts of his other operas ("Don Quixote," "The Fencing Master,"

"The Highwayman," for instance), one ought to be grateful, especially as his music has always a certain elegance and freedom from vulgarity.

Of his ballads, "Oh, Promise Me" has a few opening notes that remind one of "Musica Proibita," but it was a taking lyric that stuck in the public heart. His setting of Eugene Field's "Little Boy Blue" is a work of purest pathos and directness. His version of "My Love is Like a Red, Red Rose" is among the best of its countless settings, and "The Fool of Pamperlune," the "Indian Love Song," "In June," and a few others, are excellent ballad-writing.

Victor Harris is one of the few that selected New York for a birthplace. He was born here April 27, 1869, and attended the College of the City of New York, cla.s.s of 1888. For several of his early years he was well known as a boy-soprano, whence he graduated into what he calls the "usual career" of organist, pianist, and teacher of the voice. In 1895 and 1896 he acted as the a.s.sistant conductor to Anton Seidl in the Brighton Beach summer concerts. He learned harmony of Frederick Schilling.

Harris is most widely known as an accompanist, and is one of the best in the country. But while the accompaniments he writes to his own songs are carefully polished and well colored, they lack the show of independence that one might expect from so unusual a master of their execution.

Except for an unpublished one-act operetta, "Mlle. Maie et M. de Sembre," and a few piano pieces, Harris has confined himself to the writing of short songs. In his twenty-first year two of unequal merits were published, "The Fountains Mingle with the River" being a taking melody, but without distinction or originality, while "Sweetheart" has much more freedom from conventionality and inevitableness.

[Music: To N.N.H.

Song from Omar Khayyam.

VICTOR HARRIS, Op. 16, No. 3.

Oh! threats of h.e.l.l and hopes of Paradise!

One thing at least is certain-- _This_ Life flies, One thing is certain, and the rest is Lies!

The Flower that once has blown for ever, for ever dies.

Copyright, 1898, by Edward Schuberth & Co.]

A later song, "My Guest," shows an increase in elaboration, but follows the florid school of Harrison Millard's once so popular rhapsody, "Waiting." Five songs are grouped into opus 12, and they reach a much higher finish and a better tendency to make excursions into other keys. They also show two of Harris' mannerisms, a constant repet.i.tion of verbal phrases and a fondness for writing close, unbroken chords, in triplets or quartoles. "A Melody" is beautiful; "b.u.t.terflies and b.u.t.tercups" is the perfection of grace; "I Know not if Moonlight or Starlight" is a fine rapture, and "A Disappointment"

is a dire tragedy, all about some young toadstools that thought they were going to be mushrooms. For postlude two measures from the cantabile of Chopin's "Funeral March" are used with droll effect.

"Love, Hallo!" is a headlong springtime pa.s.sion. Two of his latest songs are "Forever and a Day," with many original touches, and a "Song from Omar Khayyam," which is made of some of the most cynical of the tent-maker's quatrains. Harris has given them all their power and bitterness till the last line, "The flower that once has blown forever dies," which is written with rare beauty. "A Night-song" is possibly his best work; it is full of colors, originalities, and lyric qualities. Opus 13 contains six songs: "Music when Soft Voices Die"

has many uncommon and effective intervals; "The Flower of Oblivion" is more dramatic than usual, employs discords boldly, and gives the accompaniment more individuality than before; "A Song of Four Seasons" is a delicious morsel of gaiety, and "Love within the Lover's Breast" is a superb song. Harris has written some choric works for men and women also. They show commendable attention to all the voice parts.

One of the most prominent figures in American musical history has been Dr. William Mason. He was born in Boston, January 24, 1829, and was the son of Lowell Mason, that pioneer in American composition. Dr.

William Mason studied in Boston, and in Germany under Moscheles, Hauptmann, Richter, and Liszt. His success in concerts abroad and here gave prestige to his philosophy of technic, and his books on method have taken the very highest rank.

His pedagogical attainments have overshadowed his composition, but he has written some excellent music. As he has been an educational force in cla.s.sical music, so his compositions show the severe pursuit of cla.s.sic forms and ideas. His work is, therefore, rather ingenious than inspired, and intellectual rather than emotional. Yale made him Doctor of Music in 1872.

Another composer whose studies in technic have left him only a little inclination for creation is Albert Ross Parsons, who was born at Sandusky, O., September 16, 1847. He studied in Buffalo, and in New York under Ritter. Then he went to Germany, where he had a remarkably thorough schooling under Moscheles, Reinecke, Richter, Paul, Taussig, Kullak, and others. Returning to this country, he has busied himself as organist, teacher, and an editor of musical works. What little music he has composed shows the fruit of his erudition in its correctness.

Such men as Doctor Mason and Mr. Parsons, though they add little to the volume of composition,--a thing for which any one should be thanked on some considerations,--yet add great dignity to their profession in this country.

Arthur, a younger brother of Ethelbert Nevin, shows many of the Nevinian traits of lyric energy and harmonic color in his songs. He was born at Sewickley, Pa., in 1871. Until he was eighteen he had neither interest nor knowledge in music. In 1891 he began a four years' course in Boston, going thence to Berlin, where his masters were Klindworth and Boise. A book of four graceful "May Sketches" has been published, "Pierrot's Guitar" being especially ingenious. There are two published songs, "Were I a Tone" and "In Dreams," both emotionally rich. In ma.n.u.script are a fine song, "Free as the Tossing Sea," and a well-devised trio.

A successful writer of songs is C. Whitney Coombs. He was born in Maine, in 1864, and went abroad at the age of fourteen. He studied the piano with Speidel, and composition with Seiffritz, in Stuttgart, for five years, and pursued his studies later in Dresden under Draessecke, Janssen, and John. In 1887 he became organist at the American Church in that city, returning to America in 1891, since which time he has been an organist in New York.

In 1891 his publication begins with "My Love," an excellent lilt on lines from the Arabian. Among his many songs a few should be noted: the "Song of a Summer Night" is brilliant and poetic, and "Alone" is marked by some beautiful contramelodic effects; his "Indian Serenade"

is a gracious work.

J. Remington Fairlamb has been a prolific composer. He was born at Philadelphia, and at fourteen was a church organist. He studied at the Paris Conservatoire and in Italy; was appointed consul at Zurich by President Lincoln, and while in Stuttgart was decorated by the King of Wurtemburg with the "Great Gold Medal of Art and Science" for a Te Deum for double chorus and orchestra. Of Fairlamb's compositions, some two hundred have been published, including much sacred music and parts of two operas. A grand opera, "Leonello," in five acts, and a ma.s.s are in ma.n.u.script.

Frank Seymour Hastings has found in music a pleasant avocation from finance, and written various graceful songs. He has been active, too, in the effort to secure a proper production of grand opera in English.

Dr. John M. Loretz, of Brooklyn, is a veteran composer, and has pa.s.sed his opus 200. He has written much sacred music and several comic operas.

A prominent figure in New York music, though only an occasional composer, is Louis Raphael Dressler, one of the six charter members of the Ma.n.u.script Society, and long its treasurer. His father was William Dressler, one of the leading musicians of the earlier New York, where Mr. Dressler was born, in 1861. Dressier studied with his father, and inherited his ability as a professional accompanist and conductor. He was the first to produce amateur performances of opera in New York.

His songs are marked with sincerity and spontaneity.

Richard Henry Warren has been the organist at St. Bartholomew's since 1886, and the composer of much religious music in which both skill and feeling are present. Among his more important works are two complete services, a scene for barytone solo, male chorus, and orchestra, called "Ticonderoga," and a powerful Christmas anthem. Warren has written also various operettas, in which he shows a particular grasp of instrumentation, and an ability to give new turns of expression to his songs, while keeping them smooth and singable. An unpublished short song of his, "When the Birds Go North," is a remarkably beautiful work, showing an apt.i.tude that should be more cultivated.

Warren was born at Albany, September 17, 1859. He is a son and pupil of George W. Warren, the distinguished organist. He went to Europe in 1880, and again in 1886, for study and observation. He was the organizer and conductor of the Church Choral Society, which gave various important religious works their first production in New York, and, in some cases, their first hearing in America, notably, Dvorak's Requiem Ma.s.s, Gounod's "Mors et Vita," Liszt's Thirteenth Psalm, Saint-Saens' "The Heavens Declare," Villiers Stanford's "G.o.d is Our Hope and Strength," and Mackenzie's "Veni, Creator Spiritus." Horatio Parker's "Hora Novissima" was composed for this society, and Chadwick's "Phoenix Expirans" given its first New York performance.

A prominent organist and teacher is Smith N. Penfield, who has also found time for the composition of numerous scholarly works, notably, an overture for full orchestra, an orchestral setting of the eighteenth psalm, a string quartette, and many pieces for the organ, voice, and piano. His tuition has been remarkably thorough. Born in Oberlin, Ohio, April 4, 1837, he studied the piano in Germany with Moscheles, Papperitz, and Reinecke, the organ with Richter, composition, counterpoint, and fugue with Reinecke and Hauptmann. He had also a period of study in Paris.

Another organist of distinction is Frank Taft, who is also a conductor and a composer. His most important work is a "Marche Symphonique,"

which was performed by the Boston Symphony Orchestra. He was born in East Bloomfield, New York, and had his education entirely in this country, studying the organ with Clarence Eddy, and theory with Frederic Grant Gleason.

A young composer of many graceful songs is Charles Fonteyn Manney, who was born in Brooklyn in 1872, and studied theory with William Arms Fisher in New York, and later with J. Wallace Goodrich at Boston. His most original song is "Orpheus with His Lute," which reproduces the quaint and fascinating gaucheries of the text with singular charm. He has also set various songs of Heine's to music, and a short cantata for Easter, "The Resurrection."

An ability that is strongly individual is that of Arthur Farwell, whose first teacher in theory was Homer A. Norris, and who later studied under Humperdinck in Germany. Among his works are an elaborate ballade for piano and violin, a setting of Sh.e.l.ley's "Indian Serenade," and four folk-songs to words by Johanna Ambrosius, the peasant genius of Germany. Among others of his published songs is "Strow Poppy Buds," a strikingly original composition.

A writer of numerous elegant trifles and of a serious symphony is Harry Patterson Hopkins, who was born in Baltimore, and graduated at the Peabody Inst.i.tute in 1896, receiving the diploma for distinguished musicianship. The same year he went to Bohemia, and studied with Dvorak. He returned to America to a.s.sist in the production of one of his compositions by Anton Seidl.

Very thorough was the foreign training of Carl V. Lachmund, whose "j.a.panese Overture" has been produced under the direction of Thomas and Seidl, in the former case at a concert of that society at which many important native works have had their only hearing, the Music Teachers' National a.s.sociation. Lachmund was born at Booneville, Mo., in 1854. At the age of thirteen he began his tuition at Cologne, under h.e.l.ler, Jensen, and Seiss; later he went to Berlin to study with the Scharwenkas, Kiel, and Moskowski. He had also four years of Liszt's training at Weimar. A trio for harp, violin, and 'cello was played by the Berlin Philharmonic Orchestra, and a concert prelude for the piano was much played in concerts in Germany. Before returning to America, Lachmund was for a time connected with the opera at Cologne.

_The Boston Colony._

To the composer potentially a writer of grand operas, but barred out by the absolute lack of opening here, the dramatic ballad should offer an attractive form. Such works as Schubert's "Erl-King" show what can be done. Henry Holden Huss has made some interesting experiments, and Fred. Field Bullard has tried the field.

[Ill.u.s.tration: FREDERICK FIELD BULLARD.]

Bullard's setting of Tennyson's almost lurid melodrama in six stanzas, "The Sisters," has caught the bitter mixture of love and hate, and avoided claptrap climaxes most impressively.

[Music: HYMN OF PAN.