Edmund Severn (b. 1862, in England) has given himself extensively to composition for the violin. His concerto for that instrument in D minor is on broadly melodic lines, is, on the whole, conservative, but makes occasional excursions into whole-tone scale effects. A suite for violin and piano, 'From Old New England,' draws upon old tunes and ballads of that region for its thematic material, though scarcely constituting the composer a nationalist. Its movements, 'Pastoral Romance,' 'Rustic Scherzo,' 'Lament,' and 'Kitchen Dance,' are excellent violin writing, and show humor and a sprightly fancy. There is also a sonata for violin andpiano and a symphonic poem, 'Launcelot and Elaine,' which has been heard at the Worcester, Mass., festivals.
Certain American composers of distinguished attainments in the sphere of romantic and neo-classic ideals have preferred to spend their lives in Europe, with the result that their work is little known at home. Among these Arthur Bird (b. 1856) is known as the possessor of a fertile and truly musical imagination and a thorough technique. He has composed a symphony, suites, and a 'Carnival,' for orchestra; a ballet,Rübezahl; an opera, 'Daphne'; and various works for piano and organ. His decimet for wind instruments won the Paderewski prize for chamber music in 1902. Bird is a musician of German training and French sympathies and calls himself a 'conditional modernist.' He makes his home in Berlin, where he studied under Haupt, Loeschhorn and Urban. Earlier in his career he spent two years with Liszt at Weimar. In 1886 Bird was the conductor of the Milwaukee Musical Festival. Another of the expatriated is Bertram Shapleigh, who has adopted England as his home. His output is enormous and comprises works in many forms, among them orchestral works, cantatas, and choruses, and violin and 'cello solos, though songs constitute by far the greater part of his music. For orchestra he has a 'Ramayana' suite and four symphonic sketches,Gur Amir.
The classical tendency, by which is commonly meant the impulse to compose in the 'cyclic' forms, is seldom manifested by women composers, for reasons which have been variously explained, or for which explanation has been attempted. Whatever the true reason may be, it is, in fact, wholly on the side of romanticism, with the possible exception of literary tendenciesin the choice of poems for songs, that all the women composers coming within the scope of this chapter are found. One of the most gifted of these is Mabel Daniels (b. 1878), who has the distinction of having won both prizes offered for women composers in the competition of the National Federation of Musical Clubs for 1911, the first with a song for soprano, 'Villa of Dreams,' poem by Arthur Symons, and the second with two three-part songs for women's voices with accompaniment of pianoforte and two violins, 'Eastern Song,' the author of the text not stated, and 'The Voice of My Beloved,' the text selected from the 'Song of Solomon.' 'Villa of Dreams' is a broadly conceived aria, essentially melodious, and harmonically modern in the general sense of being free in modulatory treatment, without crossing the border line of ultra-modern chord effects. It is fluent in inspiration and authentically poetic. Miss Daniels' most significant work is a poem for baritone and orchestra. 'The Desolate City' (W. S. Blunt), produced at the Peterborough festival in 1913, and later by the Chicago orchestra in Syracuse, the composer conducting. 'Love, When I Sleep,' on original verses which show the composer to have a marked poetic gift, from three 'Songs of Damascus,' is notable for its melodic warmth. A 'Fairy Scherzo' for orchestra was conducted by the composer at the MacDowell Festival at Peterborough, N. H., in August, 1914.
Widely known through her irresistibly lilting 'Boat Song,' Harriet Ware, through many songs of exquisite character, has taken her place as one of the most prominent women composers of America. Her work has assumed a thoroughly modern character, is highly refined in feeling and often subtle in its expressiveness. Among her songs one of the best is 'The Call of Râdha,' which contrasts with poignancy the worlds of sense and spirit. 'The Forgotten Land,' another song whichtakes high rank, shows a considerable chromatic harmonic fluency, and paints an exquisite tone-picture of a far-away world. 'Rose Moral' has much simple beauty, 'To Lucasta' fine contrasts of mood, and 'My Love is a Rider' is very bold and poetic. A true ecstasy lives in 'Joy of the Morning,' and 'The Last Dance' is rich and warm in sentiment throughout.
Few composers of America, of either sex, have surpassed in quality of spiritual beauty and refinement some of the songs of Gertrude Norman Smith, who commands regions of inspiration to which only a few rare souls have access. One studies and regards with keenest admiration such exquisite and deeply felt inspirations as 'From Afar in the Night,' with its restful motion; 'The Golden Birch,' so melodically beautiful and sensitive in harmony; the somewhat Schubertesque but quaintly charming 'In the Cloister Garden'; the joyously lilting 'In the Vale of Llangollen,' on Arthur Symons' poem; and the mood-heavy and passionate song on the same poet's 'Rain on the Down.'
An extraordinary record is that of Eleanor Everest Freer, of Chicago, who has, in a large number of songs, well-nigh summed up the whole range of the best in English and American lyrical literature, having drawn upon upward of sixty of the greatest poets in the language for her texts. Her opus 22, alone, consists of settings of the entire fourty-four 'Sonnets from the Portuguese,' of Elizabeth Barrett Browning. Her music presents the wide variety of expressiveness which such a task would of necessity demand, but, despite the interesting character of much of this music, it may be conceived that a richer musical texture would have been gained by a higher concentration upon a lesser output. The music shows French influence and is laudable for its freedom from the outworn conventions of Germanic tradition.
A melodist of much spontaneity and charm is CelesteHeckscher, who has written a considerable number of songs and piano pieces of appealing lyrical quality, as well as an orchestral suite, 'Dances of the Pyrenees,' which has been very successfully performed at the concerts of the Philadelphia Symphony Orchestra and elsewhere. Among the songs 'Music of Hungary' is characteristic and bold; 'Serenade' is melodically ingratiating; and 'Pastoral Lullaby,' on a melody from the orchestral suite, has a haunting melodic outline and charm of mood. A 'Romance' for 'cello is simple and effective, affording a good opportunity for developing tonal breadth.
Clara A. Korn, ranked by Rupert Hughes as a composer of 'works of serious intention and worthy art,' has written a considerable number of piano pieces in the smaller forms, including a suite, 'Rural Snapshots,' an album of 'Nine Songs,' and for violin and piano a suite, 'Modern Dances,' and anAir de Ballet.
With characteristic Western enterprise Mary Carr Moore, of Seattle, composed, produced, and conducted a grand opera, 'Narcissa,' text by Sarah Pratt Carr, in that city in 1912 with pronounced success. The text is based on a romantic episode of local history. Mrs. Moore is the composer of many charming songs.
A complete list of American women composers would be of astonishing length, and beyond the scope of the present work. Helen Hopekirk, of Boston, should be mentioned, who has contributed to song and pianoforte literature much of worth, of beauty and charm, not untouched in its imaginative quality by the composer's Celtic derivation. Fannie Dillon, of Los Angeles, in a number of piano compositions, shows emotional and imaginative force, and a geometrical handling of ideas and grasp of harmonic construction having an almost masculine character. She has given a musical setting to Browning's 'Saul.' Mary Turner Salter (b. in 1856) is widely known for songs of much fineness of spiritand humanity of appeal. Amy Woodford Finden's setting of Lawrence Hope's 'Indian Love Lyrics' have enjoyed a very wide popularity. Lola Carrier Worrell is the composer of many pleasant songs. A peculiar depth and authenticity of mood lurks in several songs of not very formidable technical construction by Katherine Ruth Heyman. Charming songs have been written by Alicia Van Buren, Virginia Roper, Louise Drake Wright, Alice Getty, and Caroline Holme Walker.
A. F.