Besides two small sketches, a waltz and a gavotte, and his own arrangements, for two and for four hands, of the Gaelic March in "Macbeth," Kelley has published only three piano pieces: opus 2, "The Flower Seekers," superb with grace, warm harmony, and May ecstasies; "Confluentia," whose threads of liquidity are eruditely, yet romantically, intertangled to represent the confluence of the Rhine and the Moselle; and "The Headless Horseman," a masterpiece of burlesque weirdness, representing the wild pursuit of Ichabod Crane and the final hurling of the awful head,--a pumpkin, some say. It is relieved by Ichabod's tender reminiscences of Katrina Van Ta.s.sel at the spinning-wheel, and is dedicated to Joseffy, the pianist, who lives in the region about Sleepy Hollow.

To supplement his successful, humorously melodramatic setting of "The Little Old Woman who Went to the Market her Eggs for to Sell," Kelley is preparing a series of similar pieces called "Tales Retold for Musical Children." It will include "Gulliver," "Aladdin," and "Beauty and the Beast."

Kelley once wrote music for an adaptation of "Prometheus Bound," made by the late George Parsons Lathrop for that ill-starred experiment, the Theatre of Arts and Letters. The same thoroughness of research that gave Kelley such a command of Chinese theories equipped him in what knowledge we have of Greek and the other ancient music. He has delivered a course of lectures on these subjects, and this learning was put to good and public use in his share in the staging of the novel "Ben Hur." His music had a vital part in carrying the play over the thin ice of sacrilege; it was so reverent and so appealing that the scrubwomen in the theatre were actually moved to tears during its rehearsal, and it gave the scene of the miraculous cure of the lepers a dignity that saved it from either ridicule or reproach.

In the first act there is a suggestion of the slow, soft march of a caravan across the sand, the eleven-toned Greek and Egyptian scale being used. In the tent of the Sheik, an old Arabian scale is employed. In the elaborate ballets and revels in the "Grove of Daphne"

the use of Greek scales, Greek progressions (such as descending parallel fourths long forbidden by the doctors of our era), a trimetrical grouping of measures (instead of our customary fourfold basis), and a suggestion of h.e.l.lenic instruments,--all this lore has not robbed the scene in any sense of an irresistible brilliance and spontaneity. The weaving of Arachne's web is pictured with especial power. Greek traditions have, of course, been used only for occasional impressionisms, and not as manacles. Elaborately colored modern instrumentation and all the established devices from canon up are employed. A piano transcription of part of the music is promised.

The "Song of Iras" has been published. It is full of home-sickness, and the accompaniment (not used in the production) is a wonderwork of color.

[Music:

Tottering above In her highest noon The enamoured moon blushes with love While to listen The red levin With the rapid pleiads even Which were seven Pauses in heaven!

Pauses in heaven!

And they say the starry choir And the other listening things, That Israfel's fire is owing to that lyre By which he sits and sings The trembling living wire Of those unusual strings Of those unusual strings.

By permission.

FRAGMENT OF "ISRAFEL," BY EDGAR S. KELLEY.]

Kelley has two unpublished songs that show him at his best, both settings of verse by Poe,--"Eldorado," which vividly develops the persistence of the knight, and "Israfel." This latter poem, as you know, concerns the angel "whose heart-strings are a lute." After a rhapsody upon the cosmic spell of the angel's singing, Poe, with a brave defiance, flings an implied challenge to him. The verse marks one of the highest reaches of a genius honored abroad as a world-great lyrist. It is, perhaps, praise enough, then, to say that Kelley's music flags in no wise behind the divine progress of the words. The lute idea dictates an arpeggiated accompaniment, whose harmonic beauty and courage is beyond description and beyond the grasp of the mind at the first hearing. The bravery of the climax follows the weird and opiate harmonies of the middle part with tremendous effect. The song is, in my fervent belief, a masterwork of absolute genius, one of the very greatest lyrics in the world's music.

_Harvey Worthington Loomis._

[Ill.u.s.tration: HARVEY WORTHINGTON LOOMIS.]

[Ill.u.s.tration: Autograph of Harvey Worthington Loomis]

In the band of pupils that gathered to the standard of the invader, Antonin Dvorak, when, in 1892, he came over here from Macedonia to help us, some of the future's best composers will probably be found.

Of this band was Harvey Worthington Loomis, who won a three years'

scholarship in Doctor Dvorak's composition cla.s.s at the National Conservatory, by submitting an excellent, but rather uncharacteristic, setting of Eichendorff's "Fruhlingsnacht." Loomis evidently won Doctor Dvorak's confidence, for among the tasks imposed on him was a piano concerto to be built on the lines of so elaborate a model as Rubinstein's in D minor. When Loomis' first sketches showed an elaboration even beyond the complex pattern, Dvorak still advised him to go on. To any one that knows the ways of harmony teachers this will mean much.

Loomis (who was born in Brooklyn, February 5, 1865, and is now a resident of New York) pursued studies in harmony and piano in a desultory way until he entered Doctor Dvorak's cla.s.s. For his musical tastes he was indebted to the artistic atmosphere of his home.

Though Loomis has written something over five hundred compositions, only a few works have been published, the most important of which are "Fairy Hill," a cantatilla for children, published in 1896 (it was written on a commission that fortunately allowed him liberty for not a little elaboration and individuality), "Sandalphon," and a few songs and piano pieces.

A field of his art that has won his especial interest is the use of music as an atmosphere for dramatic expression. Of this sort are a number of pantomimes, produced with much applause in New York by the Academy of Dramatic Arts; and several musical backgrounds. The 27th of April, 1896, a concert of his works was given by a number of well-known artists.

These musical backgrounds are played in accompaniment to dramatic recitations. Properly managed, the effect is most impressive. Feval's poem, "The Song of the Pear-tree," is a typically handled work. The poem tells the story of a young French fellow, an orphan, who goes to the wars as subst.i.tute for his friend Jean. After rising from rank to rank by bravery, he returns to his home just as his sweetheart, Perrine, enters the church to wed Jean. The girl had been his one ambition, and now in his despair he reenlists and begs to be placed in the thickest of danger. When he falls, they find on his breast a withered spray from the pear-tree under which Perrine had first plighted troth. On these simple lines the music builds up a drama.

From the opening shimmer and rustle of the garden, through the Gregorian chant that solemnizes the drawing of the lots, and is interrupted by the youth's start of joy at his own luck (an abrupt _glissando_); through his st.u.r.dy resolve to go to war in his friend's place, on through many battles to his death, all is on a high plane that commands sympathy for the emotion, and enforces unbounded admiration for the art. There is a brief hint of the Ma.r.s.eillaise woven into the finely varied tapestry of martial music, and when the lover comes trudging home, his joy, his sudden knowledge of Perrine's faithlessness, and his overwhelming grief are all built over a long organ-point of three clangorous bride-bells. The _leit-motif_ idea is used with suggestive clearness throughout the work.

The background to Longfellow's "Sandalphon" is so fine an arras that it gives the poet a splendor not usual to his bourgeois lays. The music runs through so many phases of emotion, and approves itself so original and exaltedly vivid in each that I put it well to the fore of American compositions.

Hardly less large is the--Loomis calls it "Musical Symbolism," for Adelaide Ann Proctor's "The Story of the Faithful Soul." Of the greatest delicacy imaginable is the music (for piano, violin, and voice) to William Sharp's "Coming of the Prince." The "Watteau Pictures" are poems of Verlaine's variously treated: one as a head-piece to a wayward piano caprice, one to be recited during a picturesque waltz, the last a song with mandolin effects in the accompaniment.

[Music:

How, erect, at the outermost gates of the City Celestial he waits, With his feet on the ladder of light, That, crowded with angels unnumbered, By Jacob was seen as he slumbered Alone in the desert at night?

The Angels of Wind and of Fire Chant only one hymn, and expire With the song's irresistible stress, Expire in their rapture and wonder, As harp-strings are broken asunder By music they throb to express.

But serene in the rapturous throng, Unmoved by the rush of the song, With eyes unimpa.s.sioned and slow, Among the dead angels, the deathless Sandalphon stands listening, breathless, To sounds that ascend from below,...

Copyright, 1896, by Edgar S. Werner.

A FRAGMENT OF "SANDALPHON," BY H.W. LOOMIS.]

The pantomimes range from grave to gay, most of the librettos in this difficult form being from the clever hand of Edwin Starr Belknap.

"The Traitor Mandolin," "In Old New Amsterdam," "Put to the Test,"

"Blanc et Noir," "The Enchanted Fountain," "Her Revenge," "Love and Witchcraft" are their names. The music is full of wit, a quality Loomis possesses in unusual degree. The music mimics everything from the busy feather-duster of the maid to her eavesdropping. Pouring wine, clinking gla.s.ses, moving a chair, tearing up a letter, and a rollicking wine-song in pantomime are all hinted with the drollest and most graphic programmism imaginable.

Loomis has also written two burlesque operas, "The Maid of Athens" and "The Burglar's Bride," the libretto of the latter by his brother, Charles Battell Loomis, the well-known humorist. This latter contains some skilful parody on old fogyism.

In the Violin Sonata the piano, while granting precedence to the violin, approaches almost to the dignity of a duet. The finale is captivating and brilliant, and develops some big climaxes. The work as a whole is really superb, and ought to be much played. There are, besides, a "Lyric Finale" to a sonata not yet written, and several songs for violin, voice, and piano.

A suite for four hands, "In Summer Fields," contains some happy manifestations of ability, such as "A June Roundelay," "The Dryad's Grove," and, especially, a humoresque "Junketing," which is surely destined to become a cla.s.sic. From some of his pantomimes Loomis has made excerpts, and remade them with new elaboration for two pianos, under the name of "Exotics." These are full of variety and of actual novelty, now of startling discord, now of revelatory beauty. A so-called "Norland Epic," freely constructed on the sonata formula, is one of Loomis' most brilliant and personal achievements.

Loomis has an especial apt.i.tude for writing artistic ballet-music, and for composing in the tone of different nationalities, particularly the Spanish. His pantomimes contain many irresistible dances, one of them including a Chinese dance alternating 4-4 with 3-4 time. His strikingly fleet "Harlequin" has been published.

The gift of adding art to catchiness is a great one. This Loomis seems to have to an unusual degree, as is evidenced by the dances in his pantomimes and his series of six pieces "In Ballet Costume," all of them rich with the finest art along with a Strauss-like spontaneity. These include "L'Amazone," "Pirouette," "Un Pas Seul,"

"La Coryphee," "The Odalisque," and "The Magyar." One of his largest works is a concert waltz, "Mi-Careme," for two pianos, with elaborate and extended introduction and coda.

A series of Genre Pictures contains such lusciousness of felicity as "At an Italian Festival," and there are a number of musical moments of engaging charm, for instance, "N'Importe Quoi," "From a Conservatory Program," "A Tropical Night," a fascinating "Valsette," a nameless valse, and "Another Scandal," which will prove a gilt-edged speculation for some tardy publisher. It is br.i.m.m.i.n.g with the delicious horror of excited gossipry. An example of how thoroughly Loomis is invested with music--how he thinks in it--is his audacious scherzo, "The Town Crier," printed herewith.

In songs Loomis has been most prolific. He has set twenty-two of Shakespeare's lyrics to music of the old English school, such as his uproarious "Let me the cannikin clink," and his dainty "Tell me where is fancy bred."

"The Lark" is written in the pentatonic scale, with accompaniment for two flutes and a harp.

In the same vein are various songs of Herrick, a lyrist whose verse is not usually congenial to the modern music-maker. Loomis' "Epitaph on a Virgin" must be cla.s.sed as a success. Indeed, it reaches positive grandeur at its climax, wherein is woven the grim persistence of a tolling bell. In the same style is a clever setting of Ben Jonson's much music'd "To Celia."

In German-tone are his veritably magnificent "Herbstnacht" and his "At Midnight," two studies after Franz. Heine's "Des Waldes Kapellmeister"

has been made into a most hilarious humoresque.

"Bergerie" is a dozen of Norman Gale's lyrics. "Andalusia" is a flamboyant duet.

In Scotch songs there is a positive embarra.s.sment of riches, Loomis'

fancies finding especial food and freedom in this school. I find in these settings far more art and grace than I see even in Schumann's many Scotch songs, or those of any other of the Germans. "Oh, for Ane and Twenty" has bagpipe effects. Such flights of ecstasy as "My Wife's a Winsome Wee Thing," and "Bonnie Wee Thing," are simply tyrannical in their appeal. Then there is an irresistible "Polly Stewart;" and "My Peggy's Heart" is fairly ambrosial. These and several others, like "There Was a Bonnie La.s.s," could be made into an alb.u.m of songs that would delight a whole suite of generations.

A number of his songs are published: they include a "John Anderson, My Jo," that has no particular right to live; a ballad, "Molly," with a touch of art tucked into it; the beautiful "Sylvan Slumbers," and the quaint and fascinating "Dutch Garden."

Aside from an occasional song like "Thistledown," with its brilliantly fleecy accompaniment, and the setting of Browning's famous "The Year'

at the Spring," for which Loomis has struck out a superb frenzy, and a group of songs by John Vance Cheney, Loomis has found some of his most powerful inspirations in the work of our lyrist, Aldrich,--such as the rich carillon of "Wedded," and his "Discipline," one of the best of all humorous songs, a gruesome scherzo all about dead monks, in which the music furnishes out the grim irreverence of the words with the utmost waggery.

Chief among the lyrics by Cheney are three "Spring Songs," in which Loomis has caught the zest of spring with such rapture that, once they are heard, the world seems poor without them in print. Loomis'

literary culture is shown in the sure taste of his selection of lyrics for his music. He has marked apt.i.tudes, too, in creative literature, and has an excellent idea of the arts kindred to his own, particularly architecture.

Like Chopin, Loomis is largely occupied in mixing rich new colors on the inexhaustible palette of the piano. Like Chopin, he is not especially called to the orchestra. What the future may hold for him in this field (by no means so indispensable to cla.s.sic repute as certain pedants a.s.sume) it is impossible to say. In the meantime he is giving most of his time to work in larger forms.

If in his restless hunt for novelty, always novelty, he grows too original, too unconventional, this sin is unusual enough to approach the estate of a virtue. But his oddity is not mere sensation-mongering.