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The Bulletin O F T H E S O C I E T Y F O R a M E R I C a N M U S I C F O U N D E D I N H O N O R O F O S C a R G The Bulletin OF THE S OCIETY FOR A MERIC A N M U S IC FOUNDED IN HONOR OF O S C A R G . T. S ONNECK Vol. XXXVII, No. 3 Fall 2011 Retreat from Fame: Margaret Ruthven Lang, the once famous Boston composer, rediscovered Schumann-Heink, Dan Beddoe and Alma The Heavenly Noel’s many performances – Donald George and Lucy Mauro Gluck. Lang’s publishers were Arthur P. in many places, with orchestra; with Schmidt, Oliver Ditson and Theodore piano; and once at request, with organ, I am glad, very glad, not to be active in Presser; she received royalties into the piano, and harp; - for much-involved any musical way, but only a thankful lis- early 1950s. Yet, about 1917, at the age housekeeping took place during my tener. So wrote the once noted American of 50, Lang stopped composing. She lived mother’s last housebound years.” (Lang) composer Margaret Ruthven Lang, in some 50 more years and devoted much of Theodore Presser published her final her 88th year, in a letter to Mrs. Edward her remaining years to religious work and composition, Three Pianoforte Pieces for MacDowell on June 5, 1955. (Johnston) taking care of her elderly mother. While Young Players, op. 60, in 1919. Margaret Lang, some fifty years earlier, she kept meticulous business records of With the outbreak of WWI many was known as “among the most promi- her published pieces, she destroyed many German-trained composers turned away nent American women, whose position of her works, including her orchestral from the country of their studies and in the front rank of the best modern com- scores, following perhaps in the footsteps sought other models. Was Margaret Lang posers is no longer a question” (Program of her father who had all of his works also a part of this turning away from the Notes, Baltimore Symphony Concert, destroyed at his death. German model? If her training was no March 14, 1901). Indeed, so well- Margaret Lang was from the Lang fam- longer a part of American culture and known and regarded was Lang and her ily of Boston, the daughter of the promi- the public was no longer pro-German works, particularly her songs, that, in nent musician Benjamin Johnson “B. J.” in feeling, perhaps she stopped compos- 1912, Ethel Syford in The New England Lang (organist, pianist, conductor and Magazine described Lang thus: “It is the founder of the Cecilia Society and the continued on page 34 more sensitively poetic truth and beauty Apollo Club) and Frances Burrage Lang, which she strives for and attains, and it a singer. She was raised in an exceptional- is this unfailing quality which makes her ly musical home where she knew Dvořák in this issue: songs of a higher order than those pro- and Paderewski as guests. The Langs duced by any other American composer.” knew Liszt and his daughter Cosima, Margaret Ruthven Lang 33 (Syford, 22-23) Hans von Bülow and Richard Wagner, Rediscovered Why would someone who was an and Margaret knew the Wagner chil- established composer, indeed who was “in dren as playmates. Margaret Lang studied the front rank” stop composing and allow with her father, Chadwick, Paine and The Doug Seroff 34 herself to be forgotten? Margaret Ruthven Parker and also, as did many American Collection Lang (1867-1972) published her first composers in the late 19th century, in works in 1889 and went on to compose Germany. Her music shows the influence New Instrument some 140 songs, solo piano pieces and of the German Romantic tradition, along 35 chamber and orchestral works. Lang was with some French and occasional Eastern Collection at Nicholls State the first American woman to have a work styles, all combined to create her own University performed by a major American orchestra American sound. with her Dramatic Overture, Op. 12 per- When asked in 1967 why she stopped formed by the Boston Symphony under composing, Lang’s answer was: “Why did SAM Bulletin Moves 35 the direction of Arthur Nikisch on April I stop, I had nothing to say.” (Mullins) Online 7, 1893. Her works were championed In her own biographical notes in 1960 by Edward MacDowell and noted per- she states, not without a bit of pride, formers of the day including Ernestine “My music writing stopped soon after Reviews 39 continued from page 33 Margaret Lang also turned to reli- ciousness and of any suspicion of seeking ing for this reason. Her great-nephew gion and started publishing missives and after virility; it is so sincere, so true to the Fletcher DuBois often visited Margaret, booklets which she called “Messages from underlying thought, that it seems to me his “Aunt Blossy” as she was known in God.” These writings seem to have occu- to have an unusual chance of interesting the family, and said the family did not pied much of her time and she was attention and stirring emotions increas- know why she stopped and that she never very happy to write them, publish them ingly with the years.” (Hughes, 438) mentioned her compositional career to and send them to churches at her own him, although he was familiar with her expense; she described this as being done Works Referenced charming limericks and children’s songs “anonymously, but with deep devotion” Baltimore Symphony Orchestra. Program as they were played in his family. DuBois and “my life’s best work”. (Lang) Did this Notes, March 14, 1901. first realized Lang’s importance in music creative activity then act as a substitute for Blunsom, Laurie Katharine. “Gender, when he “discovered” her in the Boston composition? Margaret Lang lived out Genre and Professionalism: The Songs Library. (George and Mauro) her life on Brimmer Street, in Boston’s of Clara Rogers, Helen Hopekirk, Amy The “much-involved housekeeping” Back Bay. As a “thankful listener” she Beach, Margaret Ruthven Lang and Mabel was expected of women in the late 19th and also has the distinction of being the lon- Daniels, 1880-1925.” PhD diss., Brandeis early 20th centuries. Lang was responsible gest subscriber to the Boston Symphony University, 1999. George, Donald and Lucy Mauro. “An for maintaining the household, hiring Orchestra. The Orchestra performed a Interview with Fletcher DuBois, Great concert in 1967 in honor of Lang’s 100th servants, and taking her mother’s place at Nephew of Margaret “Blossy” Lang,” many social functions as was expected of a birthday and installed a plaque on her http://www.sequenza21.com/naxos/?p=912 proper Boston lady of the time. Does this seat, first balcony right, B1. Not one for (accessed March 23, 2011). perhaps explain also her ceasing to com- ostentation, she could not be found at the Hughes, Rupert. Contemporary American pose? She felt an intense responsibility to reception honoring her after the concert Composers. Boston: L.C. Page and Co., her mother, to the detriment perhaps of because she had left early to catch the last 1900. her own artistic creation? Laure Blunsom train home as she had always done. Johnston, Jim. Margaret Ruthven Lang cites two interesting events concerning Although Lang destroyed most of her & Family, “1925-1972.” http://www.dog- Margaret’s work in “Gender, Genre and orchestral music and her studies, most of boyproductions.com/margaretruthvenlang. Professionalism.” Lang’s mother Frances her songs and some piano works survive com/ (accessed March 23, 2011). Lang (an excellent musician) wrote in in libraries and collections throughout Lang, Margaret Ruthven. Diary, Sept. 29, one of her diaries: “Maidie (Margaret) is the US. Lang’s life, career and music 1892, Lang Family Papers, Boston Public writing another overture. She has finished represent a fascinating contribution to Library as quoted in Blunsom. Gretchen’s blanket;” thus Lang combined America’s musical history. As Rupert ------. Scrapbooks. Boston Public Library, her musical work with her “female” obli- Hughes said in Contemporary American as quoted in Johnston. gations. (Lang) When Lang’s father held Composers in 1900, “Personally, I see in Mullins, John J. “Composer Margaret a reception for Dvořák, Margaret Lang Miss Lang’s compositions such a depth of Lang, 101, just ‘wants to live forever.’” stayed upstairs until all guests had gone, psychology that I place the general qual- The Boston Globe, 19 February 1967 as and then she came down to show Dvořák ity of her work above that of any other quoted in Johnston. her compositions. (Blunsom, 55) woman composer. It is devoid of meretri- Syford, Ethel. “Margaret Ruthven Lang,” The New England Magazine, March 1912. The Doug Seroff Collection at the Center for Popular Music SAM Bulletin Moves The Center for Popular Music at Fisk Jubilee Singers. The personal manu- Middle Tennessee State University has scripts of John Battle, a founding mem- Online recently added an exceptional collection ber of the Grammy winning Fairfield on southern music to its holdings. The Four quartet of Nashville, Tennessee, are Beginning with the Winter 2012 issue Doug Seroff African American Gospel included. Other highlights include audio of the Bulletin, the Society will be dis- Quartet Collection contains materials and video recordings of historic perfor- seminating this publication primarily gathered and developed over thirty years mances, radio/TV appearances, quartet electronically. You will need to indicate of research by Seroff on the history of this rehearsal sessions, and interviews with on your renewal notice if you would important and influential musical style. performers. A detailed finding aid for prefer to have a print version mailed. If It includes audio and video recordings, the contents of the collection is available you do not communicate a preference over 300 photographs (many unique), from the Center for Popular Music.
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