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By Barry Cornwall.Music by W.W. Gilchrist.
music
Copyright, 1885, by Arthur P. Schmidt & Co.
Love me if I live,
Love me if I die.
What to me is life or death,
So that thou, that thou be near.
What to me is life or death,
So that thou be near,
So that thou be near.
A FRAGMENT.
There is much contrast between the lightness of his book, "Songs for the Children," and his ponderous setting of Kipling's "Recessional." The treatment of Paul Laurence Dunbar's "Southern Lullaby" is unusual, and the songs, "My Ladye" and "The Ideal," both in MS., are noteworthy.
Gilchrist has written a vast amount of religious music, including several "Te Deums," of which the one in C and that in A flat are the best, to my thinking. He has written little for the piano except a series of duets, of which the charming "MÉlodie" and the fetching "Styrienne" are the best.
It is by his orchestral works, however, that he gains the highest consideration. These include a symphony for full orchestra, which has been frequently performed with success; a suite for orchestra; a suite for piano and orchestra; as well as a nonet, a quintet, and a trio, for strings and wind. None of these have been published, but I have had the privilege of examining some of the manuscripts.
The spirit and the treatment of these works is strongly classical. While the orchestration is scholarly and mellow, it is not in the least Wagnerian, either in manipulation or in lusciousness. The symphony is not at all programmatic. The Scherzo is of most exuberant gaiety. Its accentuation is much like that in Beethoven's piano sonata (op. 14, No. 2). Imitation is liberally used in the scoring, with a delightfully comic effect as of an altercation. The symphony ends with a dashing finale that is stormy with cheer. Gilchrist is at work upon a second symphony of more modernity.
The "Nonet" is in G minor, and begins with an Allegro in which a most original and severe subject is developed with infinite grace and an unusually rich color. The Andante is religioso, and is fervent rather than sombre. The ending is especially beautiful. A sprightly Scherzo follows. It is most ingeniously contrived, and the effects are divided with unusual impartiality among the instruments. A curious and elaborate allegro molto furnishes the finale, and ends the "Nonet" surprisingly with an abrupt major chord.
The opening Allegro of the "Quintet" begins with a 'cello solo of scherzesque quality, but as the other voices join in, it takes on a more passionate tone, whence it works into rapturously beautiful moods and ends magnificently. The piano part has a strong value, and even where it merely ornaments the theme carried by the strings, it is fascinating. The Scherzo is again of the Beethoven order in its contagious comicality. The piano has the lion's share of it at first, but toward the last the other instruments leave off embroidery and take to cracking jokes for themselves. The Andante is a genuinely fine piece of work. It ranges from melting tenderness to impassioned rage and a purified nobility. The piano part is highly elaborated, but the other instruments have a scholarly, a vocal, individuality. I was shocked to see a cadenza for the piano just before the close, but its tender brilliance was in thorough accord with the sincerity of the movement. The "Quintet" ends with a splendid Allegro.
In MS. are three interesting works for the violin, a Rhapsody, a Perpetual Motion, and a Fantasie.
This last has a piano accompaniment of much ingenuity. The fantasial nature of the work lies principally in its development, which is remarkably lyrical, various melodies being built up beautifully on fractions of the main subjects. There is nothing perfunctory, and the work is full of art and appeal. Gilchrist is one of our most polished composers contrapuntally, but has been here in a very lyric mood.
He is the founder and conductor of the Mendelssohn Club of Philadelphia, an unusually effective organization; one of the founders of the local Manuscript Club; the conductor of a choral society of two hundred voices, at Harrisburg, and the director of two church choirs.
G.W. Chadwick.
Autograph of G.W. Chadwick
One of the most sophisticated, and, at the same time, most eclectic of native music-makers, is George W. Chadwick, to whom the general consent of authorities would grant a place among the very foremost of the foremost American composers.
GEORGE WHITEFIELD CHADWICK.
His reputation rests chiefly on his two symphonies, a number of concert overtures, and many pieces of chamber-music, which are much praised. Chadwick was born at Lowell, Mass., November 13, 1854. His parents were American, and it was not till 1877, after studying with Eugene Thayer in Boston, and teaching music in the college at Olivet, Mich., that Chadwick studied for two years at Leipzig, under Jadassohn and Reinecke, and later at Munich for a year under Rheinberger. In 1880 he returned to America and settled in Boston, where he has since lived, as organist, teacher, and conductor, an important figure in the town's musical life.
Among his few works for the piano, are "Six Characteristic Pieces" (op. 7). The "Reminiscence of Chopin" is an interesting and skilful chain of partial themes and suggestions from Chopin. The "Étude" is a monotonous study in a somewhat Schumannesque manner, with a graceful finish. The "Congratulation" is a cheerful bagatelle; the "Irish Melody" is sturdy, simple, and fetching; but the "Scherzino" is a hard bit of humor with Beethoven mannerisms lacking all the master's unction.
The opus ends with an unfortunate composition inexcusably titled "Please Do!"
There are two bright "Caprices" and three excellent waltzes, of which the third is the best. It is a dreamy, tender work on a theme by "B.J.L.," which refers, I presume, to Mr. B.J. Lang.
Chadwick has done a vast amount of part-song writing. His "Lovely Rosabelle" is for chorus and orchestra, and is marked with many original effects. His "Reiterlied" is superbly joyful. A setting of Lewis Carroll's immortal "Jabberwocky" shows much rich humor of the college glee-club sort. There is an irresistibly humorous episode where the instrument of destruction goes "snicker snack," and a fine hilarity at
"'O frabjous day
Callooh, callay,'
He chortled in his joy." What would part-song writers do if the Vikings had never been invented? Where would they get their wild choruses for men, with a prize to the singer that makes the most noise? Chadwick falls into line with "The Viking's Last Voyage" (1881), for barytone solo, male chorus, and orchestra, which gives him a very high place among writers in this form. He has also a robustious "Song of the Viking," and an excellent Dedication Ode (1884), for solo, chorus, and orchestra, to the pregnant words of Rev. H.B. Carpenter, besides two cantatas for mixed voices, "Phoenix Expirans" and "The Pilgrims." In 1889 was published his "Lovely Rosabelle," a ballad for chorus and orchestra; it contains some interesting dissonantial work in the storm-passages. And his comic opera, "Tabasco," must be mentioned, as well as an enormous mass of sacred music, which, I confess, I had not the patience to study. The flesh was willing, but the spirit was weak.
Among Chadwick's songs is a volume of Breton melodies harmonized with extreme simplicity. Others are "Gay Little Dandelion," which is good enough of its everlasting flower-song sort; "In Bygone Days" and "Request," which, aside from one or two flecks of art, are trashy; and two childish namby-pambies, "Adelaide" and "The Mill." "A Bonny Curl" catches the Scotch-ton faithfully.
Chadwick usually succeeds, however, in catching foreign flavors. His "Song from the Persian" is one of his best works, and possibly the very best is his "Sorais' Song," to Rider Haggard's splendid words. It has an epic power and a wild despair. Up to the flippancy of its last measures, it is quite inspired, and one of the strongest of American songs. The "Danza" is captivating and full of novelty. "Green Grows the Willow" is a burden of charming pathos and quaintness, though principally a study in theme-management. "Allah," however, is rather Ethiopian than Mahommedan. His "Bedouin Love Song" has little Oriental color, but is full of rush and fire, with a superb ending. It is the best of the countless settings of this song. I wish I could say the same of his "Thou Art so Like a Flower," but he has missed the intense repression of Heine.
The "Serenade" displays an interesting rhythm; "The Miller's Daughter" is tender, and "A Warning" is delightfully witty. One regrets, however, that its best points were previously used in Schumann's perfect folk-song, "Wenn ich frÜh in den Garten geh'." Chadwick has two folk-songs of his own, however, which are superb. "He Loves Me" is a tender, cradle-song-like bit of delicious color. The "Lullaby" is a genuinely interesting study in this overworked form. "The Lily" has the passionate lyricism of Chaminade, and "Sweet Wind that Blows" is a fine frenzy. The "Nocturne" is dainty and has its one good climax. "Before the Dawn" has some of Chadwick's best work; it is especially marked by a daring harmonic—you might say—impasto.
