Music Trade Review
Issue: 1899 Vol. 28 N. 18 - Page 9
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THE MUSIC TRADE REVIEW
English of Coleridge or the more luxurious
forms of Gothic architecture. Horace and
Virgil and Theocritus and Homer must be
on the list of acquaintances of the univer-
sity man, but he need never have heard of
Lotti, or Cherubini, or Spohr.
*
\ 1 7 H E N Gounod wrote his sacred music
*" he always preferred suitable sur-
roundings and usually chose a seat in some
church or cathedral. When he wrote " The
Redemption" he worked in a corner of
Notre Dame Cathedral, and was day after
day the observed of all observers in that
inspiring temple. The music for "Jeanne
d'Arc" was composed not only in the
midst of religious surroundings, but with
historical associations as well. Gounod
wrote it in the cathedral at Rheims, where
the whole place was filled with the memory
of the maid's presence.
*
T" 1 HAT the much abused cornet is an fn-
4 strument of great possibilities in the
hands of an artist, has been revealed on
several occasions lately when listening to
that prince of soloists, W. Paris Chambers.
His wonderful technique surprises, but
what pleases the thorough musician most
is not the pyrotechnical side of Mr. Cham-
bers' art, but his delightful phrasing, which
veritably makes the cornet in his hands a
new instrument. He is a perfect master
in the matter of compass, taking in three
octaves, while his tone is of magnificent
quality and always delightful, whether
played pianissimo or with the greatest force
and brilliancy. Mr. Chambers is at pres-
ent soloist of the 71st Regiment Band, and
his ability is being recognized in other chan-
nels, largely in the concert field. We look
forward to a still wider recognition of Mr.
Chambers' talents not only in this country
but across the big pond.
*
DROF. PARKER of Yale, writing to
*
the Ladies' Thursday Musical of In-
dianapolis, who recently gave a concert
"in loyalty to American music," makes
several good points in which The Review
fully concurs.
" T h e sympathy of every good American
is heartily given to any undertaking which
aims to raise the standard of artistic taste
in our country," says Prof. Parker. "While
the visits of wandering artists and organ-
izations are always welcome, when they
show an excellence which cannot be at-
tained at home, I think that real, substan-
tial progress can be made only from within
and not by proxy. Every encouragement
ought, therefore, to be given in all our
cities to the establishment and continued
maintenance of local organizations. The
local chorus, and particularly the local
orchestra, and much more particularly still
the local composers, should be vigorously,
loyally supported, since from them radiates
all progressive musical art."
Philip Hale of Boston in the course of a
communication to the same club says:
Inasmuch as we have no American folk-
song, no school can be founded on folksong
in this country, unless the composers and
the audience be negroes, Indians or Creoles.
American music must be American in
breadth and in freedom of expression rather
than American in thematic structure.
"American in thematic structure" is a
somewhat compromising phrase, after the
statement that there is no such thing as
American folksong on which thematic
structure might be based, says The Tribune,
but no one can wish to quarrel with so
genial a gentleman, who is looking with
eager and welcoming eye for music which
shall be "American in breadth and in free-
dom of expression." That is what The
Tribune hailed as a " consummation most
devoutly to be wished " ten years ago, to
the following effect:
" T h e characteristic mode of expression
which will be stamped upon the music of
the American composer of the future will
be a mode that will hit the taste and appeal
to the imagination of the American public
of the future. This may not appear to be
very explicit, but we are not wholly with-
out a basis for speculation touching the
elements that are likely to enter into the
musical taste of the coming generation or
generations of Americans. To start with,
they will approach the art unfettered by
inherited prejudices in favor of certain
musical conventions still largely dominant
among European peoples. This means,
perhaps, that they will have less artistic
training back of them; but such a reflec-
tion need not frighten the social philos-
opher. The emotions are the province of
music, and those who come after us will
not be ill-equipped for any musical evangel
provided they keep the door to their hearts
open, their sensibilities keen, their affec-
tions warm. They will by that time have
learned that in all things truth is more
admirable than convention. Their political
history will have taught
them that it is theirs to
judge for themselves in
matters of art as well
as in matters of con-
science and matters of
government. The fa-
tigue which comes from
subduing a continent,
amalgamating the re-
fugees of a score of
nations into a single
people and pursuing the
aim with which the com-
mercial spirit has in-
fected the world may,
for a time, incline them
toward an art which is
merely diverting, but
eventually lofty ideals
will assert themselves,
and these will bestriven
for by spirits neither
jaded by quest nor sated
by enjoyment. The in-
herited predilections of
the reflective German,
the mercurial French-
man, the stolid English-
man, the warm-hearted
Irishman, the impul-
sive Italian, will all
have exerted their in.
fluence upon the po-
pular taste. The folk-
melodies of all nations
\\
will yield up their individual charms and
disclose to the composer a hundred avenues
of emotional expression which are not yet
opened. The American composer will be
the truest representative of a universal art,
such as music is, because he will be the
truest cosmopolitan as a citizen."
IV] EARLY all the of conspicuous figures
*• of the Civil War, federal or confede-
rate, have passed on to join the majority.
One can count on his fingers the names of
those now living who earned real distinc-
tion as commanders of armies or corps. Of
those who survive, perhaps Gen. O. O.
Howard, whose portrait appears on this
page is, everything considered, the most
distinguished. As a lecturer he is well and
favorably known, and his stories of the
great conflict that once divided the North
and South are realistic pictures that will
ever be interesting. As a military writer
Gen. Howard has the unusual power of dis-
tinguishing main events and their causes
from things merely incidental or adventi-
tious. He will be heard at a number of
prominent gatherings the coming summer
and fall.
B. HAWLEY, assisted by a number
of eminent artists, gave a recital of
his own compositions, consisting of songs,
quartets, and choruses, at Mendelssohn
Hall, on the evening of April 2 2d. It was
a most delightful affair, and furnished
many admirers of Mr. Hawley's talents
with further proofs of his industry and
rare gifts in the domain of composition.
Maior-Ceneral 0 o 0, Howard. U. S. A, Retired
THE MUSIC TRADE REVIEW
English of Coleridge or the more luxurious
forms of Gothic architecture. Horace and
Virgil and Theocritus and Homer must be
on the list of acquaintances of the univer-
sity man, but he need never have heard of
Lotti, or Cherubini, or Spohr.
*
\ 1 7 H E N Gounod wrote his sacred music
*" he always preferred suitable sur-
roundings and usually chose a seat in some
church or cathedral. When he wrote " The
Redemption" he worked in a corner of
Notre Dame Cathedral, and was day after
day the observed of all observers in that
inspiring temple. The music for "Jeanne
d'Arc" was composed not only in the
midst of religious surroundings, but with
historical associations as well. Gounod
wrote it in the cathedral at Rheims, where
the whole place was filled with the memory
of the maid's presence.
*
T" 1 HAT the much abused cornet is an fn-
4 strument of great possibilities in the
hands of an artist, has been revealed on
several occasions lately when listening to
that prince of soloists, W. Paris Chambers.
His wonderful technique surprises, but
what pleases the thorough musician most
is not the pyrotechnical side of Mr. Cham-
bers' art, but his delightful phrasing, which
veritably makes the cornet in his hands a
new instrument. He is a perfect master
in the matter of compass, taking in three
octaves, while his tone is of magnificent
quality and always delightful, whether
played pianissimo or with the greatest force
and brilliancy. Mr. Chambers is at pres-
ent soloist of the 71st Regiment Band, and
his ability is being recognized in other chan-
nels, largely in the concert field. We look
forward to a still wider recognition of Mr.
Chambers' talents not only in this country
but across the big pond.
*
DROF. PARKER of Yale, writing to
*
the Ladies' Thursday Musical of In-
dianapolis, who recently gave a concert
"in loyalty to American music," makes
several good points in which The Review
fully concurs.
" T h e sympathy of every good American
is heartily given to any undertaking which
aims to raise the standard of artistic taste
in our country," says Prof. Parker. "While
the visits of wandering artists and organ-
izations are always welcome, when they
show an excellence which cannot be at-
tained at home, I think that real, substan-
tial progress can be made only from within
and not by proxy. Every encouragement
ought, therefore, to be given in all our
cities to the establishment and continued
maintenance of local organizations. The
local chorus, and particularly the local
orchestra, and much more particularly still
the local composers, should be vigorously,
loyally supported, since from them radiates
all progressive musical art."
Philip Hale of Boston in the course of a
communication to the same club says:
Inasmuch as we have no American folk-
song, no school can be founded on folksong
in this country, unless the composers and
the audience be negroes, Indians or Creoles.
American music must be American in
breadth and in freedom of expression rather
than American in thematic structure.
"American in thematic structure" is a
somewhat compromising phrase, after the
statement that there is no such thing as
American folksong on which thematic
structure might be based, says The Tribune,
but no one can wish to quarrel with so
genial a gentleman, who is looking with
eager and welcoming eye for music which
shall be "American in breadth and in free-
dom of expression." That is what The
Tribune hailed as a " consummation most
devoutly to be wished " ten years ago, to
the following effect:
" T h e characteristic mode of expression
which will be stamped upon the music of
the American composer of the future will
be a mode that will hit the taste and appeal
to the imagination of the American public
of the future. This may not appear to be
very explicit, but we are not wholly with-
out a basis for speculation touching the
elements that are likely to enter into the
musical taste of the coming generation or
generations of Americans. To start with,
they will approach the art unfettered by
inherited prejudices in favor of certain
musical conventions still largely dominant
among European peoples. This means,
perhaps, that they will have less artistic
training back of them; but such a reflec-
tion need not frighten the social philos-
opher. The emotions are the province of
music, and those who come after us will
not be ill-equipped for any musical evangel
provided they keep the door to their hearts
open, their sensibilities keen, their affec-
tions warm. They will by that time have
learned that in all things truth is more
admirable than convention. Their political
history will have taught
them that it is theirs to
judge for themselves in
matters of art as well
as in matters of con-
science and matters of
government. The fa-
tigue which comes from
subduing a continent,
amalgamating the re-
fugees of a score of
nations into a single
people and pursuing the
aim with which the com-
mercial spirit has in-
fected the world may,
for a time, incline them
toward an art which is
merely diverting, but
eventually lofty ideals
will assert themselves,
and these will bestriven
for by spirits neither
jaded by quest nor sated
by enjoyment. The in-
herited predilections of
the reflective German,
the mercurial French-
man, the stolid English-
man, the warm-hearted
Irishman, the impul-
sive Italian, will all
have exerted their in.
fluence upon the po-
pular taste. The folk-
melodies of all nations
\\
will yield up their individual charms and
disclose to the composer a hundred avenues
of emotional expression which are not yet
opened. The American composer will be
the truest representative of a universal art,
such as music is, because he will be the
truest cosmopolitan as a citizen."
IV] EARLY all the of conspicuous figures
*• of the Civil War, federal or confede-
rate, have passed on to join the majority.
One can count on his fingers the names of
those now living who earned real distinc-
tion as commanders of armies or corps. Of
those who survive, perhaps Gen. O. O.
Howard, whose portrait appears on this
page is, everything considered, the most
distinguished. As a lecturer he is well and
favorably known, and his stories of the
great conflict that once divided the North
and South are realistic pictures that will
ever be interesting. As a military writer
Gen. Howard has the unusual power of dis-
tinguishing main events and their causes
from things merely incidental or adventi-
tious. He will be heard at a number of
prominent gatherings the coming summer
and fall.
B. HAWLEY, assisted by a number
of eminent artists, gave a recital of
his own compositions, consisting of songs,
quartets, and choruses, at Mendelssohn
Hall, on the evening of April 2 2d. It was
a most delightful affair, and furnished
many admirers of Mr. Hawley's talents
with further proofs of his industry and
rare gifts in the domain of composition.
Maior-Ceneral 0 o 0, Howard. U. S. A, Retired
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