This enthusiasm is not lacking however from his "Impromptu," and it makes his "Elegie" a masterly work, possibly his best in the smaller lines. This piece is altogether elegiac in spirit, intense in its sombrest depths, impatient with wild outcries,--like Chopin's "Funeral March,"--and working up to an immense pa.s.sion at the end. This subsides in ravishingly liquid arpeggios,--"melodious tears"?--which obtain the kindred effect of Chopin's tinkling "Berceuse" in a slightly different way. This notable work is marred by an interlude in which the left hand mumbles harshness in the ba.s.s, while the right hand is busy with airy fioriture. It is too close a copy of the finish of the first movement of Beethoven's "Moonlight" sonata. The lengthening skips of the left hand are also Beethovenesque trademarks.

Parker is rather old-fashioned in his forms of musical speech. That is, he has what you might call the narrative style. He follows his theme as an absorbing plot, engaging enough in itself, without gorgeous digressions and pendent pictures. His work has something of the Italian method. A melody or a theme, he seems to think, is only marred by abstruse harmony, and is endangered by diversions. One might almost say that a uniform lack of attention to color-possibilities and a monotonous fidelity to a cool, gray tone characterize him. His fondness for the plain, cold octave is notable. It is emphasized by the ill-success of his "Six Lyrics for Piano, without octaves." They are all of thin value, and the "Novelette" is dangerously Schumannesque.

The "Three Love Songs" are happy, "Love's Chase" keeping up the arch raillery and whim of Beddoe's verse. "Orsame's Song" is smooth and graceful, ending with a well-blurted, abrupt "The devil take her!" The "Night-piece to Julia" is notable. We have no poet whose lyrics are harder to set to music than good Robin Herrick's. They have a lilt of their own that is incompatible with ordinary music. Parker has, however, been completely successful in this instance. A mysterious, night-like carillon accompaniment, delicate as harebells, gives sudden way to a superb support of a powerful outburst at the end of the song.

[Music:

The stars of the night Will lend thee their light, Like tapers without number.

Then, Julia let me woo thee, Thus to come unto me; And when I shall meet Thy silvery feet My soul I'll pour into thee, My soul I'll pour into thee, into thee.

Copyright, 1886, by Arthur P. Schmidt & Co.

FRAGMENT OF MR. PARKER'S SONG, "NIGHT-PIECE TO JULIA."]

The "Six Songs" show not a little of that modernity and opulent color I have denied to the most of Mr. Parker's work. "Oh, Ask Me Not" is nothing less than inspiration, rapturously beautiful, with a rich use of unexpected intervals. The "Egyptian Serenade" is both novel and beautiful. The other songs are good; even the comic-operatic flavor of the "Cavalry Song" is redeemed by its catchy sweep.

Among a large number of works for the pipe-organ, few are so marked by that purposeless rambling organists are so p.r.o.ne to, as the "Fantaisie." The "Melody and Intermezzo" of opus 20 makes a sprightly humoresque. The "Andante Religioso" of opus 17 has really an allegretto effect, and is much better as a gay pastorale than as a devotional exercise. It is much more shepherdly than the avowed "Pastorale" (opus 20), and almost as much so as the "Eclogue,"

delicious with the organ's possibilities for reed and pipe effects.

The "Romanza" is a gem of the first water. A charming quaint effect is got by the accompaniment of the air, played legato on the swell, with an echo, staccato, of its own chords on the great. The interlude is a tender melody, beautifully managed. The two "Concert Pieces" are marked by a large simplicity in treatment, and have this rare merit, that they are less gymnastic exercises than expressions of feeling. A fiery "Triumphal March," a delightful "Canzonetta," and a n.o.ble "Larghetto," of sombre, yet rich and well-modulated, colors, complete the list of his works for the organ. None of these are registered with over-elaboration.

To sacred music Parker has made important contributions. Besides a dignified, yet impa.s.sioned, complete "Morning and Evening Service for the Holy Communion," he has written several single songs and anthems.

It is the masterwork, "Hora Novissima," however, which lifts him above golden mediocrity. From the three thousand lines of Bernard of Cluny's poem, "De Contemptu Mundi," famous since the twelfth century, and made music with the mellowness of its own Latin rhyme, Mrs. Isabella G.

Parker, the composer's mother, has translated 210 lines. The English is hardly more than a loose paraphrase, as this random parallel proves:

Pars mea, Rex meus, Most Mighty, most Holy, In proprio Deus, How great is the glory, Ipse decore. Thy throne enfolding.

Or this skilful evasion:

Tunc Jacob, Israel, All the long history, Et Lia, tunc Rachel All the deep mystery Efficietur. Through ages hidden.

But it is perhaps better for avoiding the Charybdis of literalness.

Those who accuse Rossini's "Stabat Mater" of a fervor more theatric than religious, will find the same faults in Parker's work, along with much that is purely ecclesiastical. Though his sorrow is apt to become petulance, there is much that is as big in spirit as in handling. The work is frequently Mendelssohnian in treatment. An archaism that might have been spared, since so little of the poem was retained, is the sad old Handelian style of repeating the same words indefinitely, to all neglect of emptiness of meaning and triteness. Thus the words "_Pars mea, Rex meus_" are repeated by the alto exactly thirteen times!

which, any one will admit, is an unlucky number, especially since the other voices keep tossing the same unlucky words in a musical battledore.

The especially good numbers of the work (which was composed in 1892, and first produced, with almost sensational success, in 1893) are: the magnificent opening chorus; the solo for the soprano; the large and fiery finale to Part I.; the superb tenor solo, "Golden Jerusalem,"

which is possibly the most original and thrilling of all the numbers, is, in every way, well varied, elaborated, and intensified, and prepares well for the ma.s.sive and effective double chorus, "Stant Syon Atria," an imposing structure whose ambition found skill sufficing; an alto solo of original qualities; and a finale, tremendous, though somewhat long drawn out. Of this work, so careful a critic as W.J.

Henderson was moved to write:

"His melodic ideas are not only plentiful, but they are beautiful, ... graceful and sometimes splendidly vigorous....

There is an a cappella chorus which is one of the finest specimens of pure church polyphony that has been produced in recent years.... It might have been written by Hobrecht, Brumel, or even Josquin des Pres. It is impossible to write higher praise than this.... The orchestration is extraordinarily ... rich. As a whole ... the composition ... may be set down as one of the finest achievements of the present day."

And Philip Hale, a most discriminant musical enthusiast, described the chorus "Pars Mea" as:

"A masterpiece, true music of the church," to which "any acknowledged master of composition in Europe would gladly sign his name.... For the a cappella chorus there is nothing but unbounded praise.... Weighing words as counters, I do not hesitate to say that I know of no one in the country or in England who could by nature and by student's sweat have written those eleven pages.... I have spoken of Mr. Parker's quasi-operatic tendency. Now he is a modern. He has shown in this very work his appreciation and his mastery of antique religious musical art. But as a modern he is compelled to feel the force of the dramatic in religious music.... But his most far-reaching, his most exalted and rapt conception of the bliss beyond compare is expressed in the language of Palestrina and Bach."

In September, 1899, the work was produced with decisive success in London, Parker conducting.

Besides this, there are several secular cantatas, particularly "King Trojan," which contains a singable tune for Trojan with many delicate nuances in the accompaniment, and a harp-accompanied page's song that is simply ambrosial. Then there is Arlo Bates' poem, "The Kobolds,"

which Parker has blessed with music as delicate as the laces of gossamer-spiders.

His latest work is devoted to the legend of St. Christopher, and displays the same abilities for ma.s.sive and complex scoring whenever the opportunity offers. On the other hand, the work discloses Parker's weaknesses as well, for the libretto drags in certain love episodes evidently thought desirable for the sake of contrast and yet manifestly unnecessary to the story. The character of the queen, for instance, is quite useless, and, in fact, disconcerting. The love scene between the king and queen reminds one uncomfortably of Tristan and Isolde, while a descending scale constantly used throughout the work in the accompaniment incessantly suggests the "Samson and Delilah" of Saint-Saens.

In spite of flaws, however,--flaws are to be had everywhere for the looking,--Parker's work has its fine points. The struggle between the demons and the singers of the sacred Latin Hymn has made excellent use of the Tannhauser effect. The Cathedral scene shows Parker's resources in the ma.s.sive use of choruses to be very large. The barcarolling billows of the river are ravishingly written, and the voice of the child crying out is effectively introduced. The song the giant Christopher sings through the storm is particularly superb.

_Frank van der Stucken._

[Ill.u.s.tration: FRANK VAN DER STUCKEN.]

On the bead-roll of those who have had both the ability and the courage to take a stand for our music, the name of Frank van der Stucken must stand high. His Americanism is very frail, so far as birth and breeding count, but he has won his naturalization by his ardor for native music.

Van der Stucken's life has been full of labors and honors. He was born at Fredericksburg, Texas, in 1858, of a Belgian father and a German mother. After the Civil War, in which the father served in the Confederate army as a captain of the Texan cavalry, the family returned to Belgium, where, at Antwerp, Van der Stucken studied under Benoit. Here some of his music was played in the churches, and a ballet at the Royal Theatre.

In 1878 he began studies in Leipzig, making important acquaintances, such as Reinecke, Grieg, and Sinding. His first male chorus was sung there, with great success. Of his fifth opus, consisting of nine songs, Edvard Grieg wrote an enthusiastic criticism. After travelling for some time, Van der Stucken was appointed kapellmeister at the Breslau Stadt-Theatre. This was his debut as conductor. Here he composed his well-known suite on Shakespeare's "Tempest," which has been performed abroad and here. Here, also, he wrote a "Festzug," an important work in Wagnerian style, and his pa.s.sionate "Pagina d'Amore," which, with the published portions of his lyric drama, "Vlasda," has been performed by many great orchestras.

In 1883, Van der Stucken met Liszt, at Weimar, and under his auspices gave a concert of his own compositions, winning the congratulations of Grieg, La.s.sen, Liszt, and many other celebrated musicians. A prominent German critic headed his review of the performance: "A new star on the musical firmament."

Van der Stucken was now called to the directorship of the famous Arion Male Chorus in New York, a position which he held for eleven years with remarkable results. In 1892 he took his chorus on a tour in Europe and won superlative praises everywhere.

In 1885 and successive years Van der Stucken conducted orchestral "Novelty Concerts," which have an historical importance as giving the first hearing to symphonic works by American composers. In Berlin and in Paris he also gave our musicians the privilege of public performance. From 1891 to 1894 he devoted himself to reforming the Northeastern Saengerbund, achieving the enormous task of making five thousand male voices sing difficult music artistically. Since 1895 Van der Stucken has been conductor of the newly formed Cincinnati Symphony Orchestra, as well as dean of the faculty of the College of Music in that city. The influence of this man, who is certainly one of the most important musicians of his time, is bringing Cincinnati back to its old musical prestige.

As a composer, Van der Stucken shows the same originality and power that characterize him as an organizer. His prelude to the opera "Vlasda" (op. 9) is one long rapture of pa.s.sionate sweetness, superbly instrumented. An arrangement of it has been made for the piano for four hands by Horatio W. Parker.

Van der Stucken's music to "The Tempest" (op. 8) is published in three forms. Besides the orchestral score, there is an arrangement for piano solo, by A. Siloti, of the "Dance of the Gnomes," "Dance of the Nymphs," and "Dance of the Reapers," the first and third being especially well transcribed. For four hands, Hans Sitt has arranged these three dances, as well as a short but rich "Exorcism," some splendid melodramatic music, and the rattling grotesque, "The Hound-chase after Caliban." All these pieces are finely imagined and artistically handled.

For piano solo, there is a group of three Miniatures (op. 7). The first is an Alb.u.mblatt of curious dun colors; the second is a Capriccietto, a strange whim; the third is a beautiful bit called "May Blossom."

[Music:

Der Stunde sei geflucht, wo ich dein Herz gesucht, wenn in dir diese Liebe statt milder Freudentriebe soll tragen herbe Frucht!

Gesegnet ist die Stunde, sprach sie mit sussem Munde, mir ist kein Leid geschehn den Himmel fuhl' ich stehn in meines Herzens Grunde.

That hour with curse be fraught, In which thy heart I sought, If I, in love bestowing, Instead of gladness knowing, A bitter grief have bought: "My soul that hour e'er blesses,"

A rosy mouth confesses, "Thy love is all I crave, Then heav'n itself I have Within my heart's recesses."

Copyright, 1892, by Friedrich Luckhardt, Berlin.

By permission of Luckhardt & Belder, New York.

FRAGMENT OF MR. VAN DER STUCKEN'S "DIE STUNDE SEI GESEGNET."]

Of Van der Stucken's songs I have seen two groups, the first a setting of five love lyrics by Ruckert. None of these are over two pages long, except the last. They are written in the best modern _Lied_ style, and are quite unhackneyed. It is always the unexpected that happens, though this unexpected thing almost always proves to be a right thing.

Without any sense of strain or bombast he reaches superb climaxes; without eccentricity he is individual; and his songs are truly interpreters of the words they express. Of these five, "Wann die Rosen aufgebluht" is a wonderfully fine and fiery work; "Die Stunde sei gesegnet" has one of the most beautiful endings imaginable; "Mir ist, nun ich die habe" has a deep significance in much simplicity, and its ending, by breaking the rule against consecutive octaves, attains, as rule-breakings have an unpleasant habit of doing, an excellent effect.

"Liebste, nur dich seh'n" is a pa.s.sionate lyric; and "Wenn die Voglein sich gepaart" is florid and trilly, but legitimately so; it should find much concert use. These songs, indeed, are all more than melodies; they are expressions.

Of the second group of eight songs for low voice, "O Jugendl.u.s.t" is athrill with young ecstasy; "Einsame Thrane" has superb coloring, all sombre, and a tremendous climax; "Seeligkeit" is big with emotion and ravishing in harmony, "Ein Schaferlied" is exquisite, "Von schon Sicilien war mein Traum" begins in the style of La.s.sen, but ends with a strength and vigor far beyond that tender melodist. Besides these groups, there is a rich lyric "Moonlight;" and there are many part songs.