379.

I4Oo ?tcr7

THE SONGS OF JOHN ALDEN CARPENTER

THESIS

Presented to the Graduate Council of the

North Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

RASTER OF MUSIC

by

Lucille Mendenhall, B. Mus.

Fort Stockton, Texas

lay, 1952 'Wr "

PREFACE

The purpose of this study is to give some insight into

the solo songs of John Alden Carpenter and show their position in the history of song composition in general.

Although Carpenter has won wide acclaim,, little has been written about either the man or his music. His vocal music in particular has lacked the attention it merits,

and it is hoped that this study will partially fill the

lacuna. Of some eighty-one songs that Carpenter is known

to have written, about seventy were published (see Appendix).

Of these, forty-one are still in publication and have been

available for this study. No attempt has been made to

analyze each song.. Rather, have the general features of the songs been treated and supported by examples, char-

acteristic as well as exceptional. The study of the songs

themselves is preceded by two chapters on the history of

solo song, and another containing a brief account of Carpenter's career. At the close are three appendixes,

the first, a list of songs in order of composition; the

second, a list of songs in order by author; and in the

third, a list of instrumental works in order of composition. A bibliography of the available literature in books and periodicals will be found at the end.

iii TABLE OF CONTENTS Page PREFACE ...... * * * * . * . * . iii v LIST OF ILLUSTRATIONS ......

Chapter I. RESUME OF THE HISTORY OF THE ART SONG . ... 1

II. THE ART SONG&IN AMERICA...... 9.. . 28

III. JOHN ALDEN CARPENTER ...... 9 9 37

IV. THE SONGS OF JOHN ALDEN CARPENTER...... a 49 Influences Discussion of forty-one songs

, Je )i

BIBLIOGRAPHY ...... 152. . .

iv

'm . ++54 9t +hPN, ]LU.F ',a. h 7 laN<4 'A . ,. W6 ;' W

. f" -F.yl.... .,. I. -- _ 1I ' 4., :aY t 1 51 T .f 18 1+ ! i.. I y LIST OF ILLUSTRATIONS

Figure Page

1. Youn Man,, Chieftain, mm. 23-24 . ., ...... 54

2. When the Mist Shadows Glide, mm. 19-20 . . . . 55

3. Le Cie1,, mm. 19-20 . . #...... 55

4... dumber ~n, mm. 33-36 ...... 60

5. Mo Fair, mm. 38-46 ...... 61

6. The Green River,, mm. 7-10 ...... 62

7. The Green River, mm..14-27# ...... 63

8. The Green River, mm. 34-37 ...... 64

9. Les Silhouettes, mm. 25-29 ...... 65

10. When I bra to. You Colour'd Tes,, mm. 34-35 . 66

11. Young Man, Chieftain, mm. 46-49 ...... 67

12. Th~e oolsof Peac, mm. 26-29 ...... 67

13. On the ta when death will knock at thy door, mm. - "7...... 68

14.. On the Seashore of Endless Worlds, mm. 5-7 . . 69

15. Rest. mm., 29-31 ...... 70

16. The Day Is. More, mm. 51-54 ...... 71

17. The Heart's Country, mm. 7-8 ...... 71

18. Treat Me Nice, mm. 26-27 ...... 72

19. Go, Love1y3R~ose, mm.. 15-20 ...... 74

20. Les Silhouettes,, mm. 20-24 ...... 75

21.. Berceuse de Guerre, mm.. 24-26 ...... 75

V Figure Page

22. Don't Ceare, mm. 6-9...... 0. 76

Bid Me To . 23. Live, mm. 22-25 . . . . . 9 . 77 Light, 24. Light,, mm.. 1-8 ...... 9 78

25.. To One Unknown, mm.. 27-28 ...... 79

26. Slumber , mm. 67-68 ...... 79

27. hull Ye Come inEr Spring,, mm.. 76 - a77. .. 80

28. Rest, mm.. 4-8...... " . . . . . 81

29.. (ords, . mm. , 33-'36...... " . . . . . 82

30. To One Unknown, mm. 17-20 ...... 82

31. Bid Me To Live,, mm. 3-6 ...... 83

32. The Pools of Peace,. mm. 18-21"...... 84

33. Berceuse de Guerre, mm., 30-31 ...... 85

34.1 The Green River, mm.. 47-54 ...... 0 86

35. Go, Lovely Rose, mm. 42-46 ., ...... " " 87

36. The Girlwth the Flaxen Hair,, mm. 24-26 " "9 . 88

37.- Youn , Chieftain, mm. 30-36 .,...... 89

38. Les Silhouettes, mm., 1-5 ...... 91

39. Le Ciel, mm.. l-4 ., ...... 92

40.. The Day Is No _ore,,mm.1-4 ."...... 93

41. The Day s Mor, mm. 22-25 ...... 93

42. The Player Queen,. mm., 1-2 ...... 9 . 94

43. Berceuse de Guerre,, mm. 1-4 ...... 9 . 94

44. Berceuse de Gum ,. mm.. 27-29 ...... 95

45., Slumber So.nj,, mm. 68-71 . . . . 9 . . . . 96

46. Highwaymen, mm.. 6-8 ...... 97 vi Figure Page

47. Highwaymen, mm. 22-24 ...... #.#.. 98

48. The Heart's Country, mm. 1-4 ...... #.#. . 99

49.. The Heart' s Country, mm. 19-20 ...... 99

50. Treat le Nice,- mm. 1-3...... 100

51. The Lawd Is Smilin' throw' the Do', mm. 5-8 . . 101

52. Shake Y~or Brown Feet., Honey, mm. 3-4 . . . . 102

53. Jazz-Boys, mm. 5-6 ...... 103 54., The Lawd Is Smilin' thro' the Do',. mm. 53-56 . 103

55. The Player een, mm. 29-30 ...... 104

56. Slumber Song, mm. 19-22...... 104

57. _Imorm., mm.. 8-10 .. . . .k .# .# .# ...... 105

58. Serenade, mm. 1-4 ...... 106

59. $erenade,. mm. 47-49 ...... 106

60. El Puerto, from the Iberia Suite, Albeniz mm. 53-55 ...... 107

61. Serenade, mm,"62-67 ...... 108

62. Danse Rituelle du Feu,,, deFalla, min. 75-81 . 108

63. Treat le1Nice, mm.. 12-13 ...... 109

64. iay, h Maiden, mm. 17-20 ...... 110

65. Dansons la e, mm. 23-26 ...... 111

66. The Heart's Country, mm.. 28-30 ...... 112

67. Go, Loe e,. mm. 1-5 ...... 113

68. The Green River, mm. 1-4 ...... 114

69. The Green River,, i.r 27...... 114

70. The Green River,, mm. 29-33 ...... 115

vii

- Figure Page

71.. The Sleep That Flits on Baby' s Eye.a ...... mm. : -5 ...... 117

72. Bereuse de Guerre, mm. 10-12 ...... 118

73. Berceuse de Guerre, mm. 33-35"...... 119

74. Young Man, Chieftain, mm. 58-60 ...... 119

75. Rest,. mm. 10-13 ...... 120

76. o, Lovely Ros, mm. 37-41 ...... 121

77. Bid Me To Live, mm. 8-10 ...... 122

78. To One Unknown, mm. 31-35 . . . . .123

79. The Playe Queen, mm. 30-33 ...... 124

80. To One Unknown, mm. 37-38 ...... 125

80a. To One Unknown, mm., 48-49 ...... 125 81. I am like a Remnant of a Cloud of Au tumn, .5-*80 ...... 126

82. Serenade, mm. 18-20 ...... 126

83. Cradle Song, mm. 1-4 ...... 127

84. Wul1 Ye Come inEAy Spring, mm. 47-48 . 127 85. When I Bring to You Colour'd Toys, mm. 10-12 128

86. BidMe ToL~ve, mm. 18-19 ...... 128

87. To One Unknown, mm. 52-54 . . . . . 129

88. Worlds, mm. 12-16 ...... 130

89.. Cradle Son, mm.. 47-53 ...... ".s. 131

90. The a Is oMore, mm.. 79-82 ...... 132 91. The Sleep That Flits on Baby's Eyes,, mm. 132

92. Worlds, mm. 47-49 ...... 133

viii

e - Figure Page

93. Hi hwaymen,, m. 24 ...... 133

94. The Heart's Country, mm. 31-32 ...... 134

95. Jazz-Bo, mm. 4546...... 135

96. The PoolsofP eace, mm. 1-3 ...... 135

97. Slumber $ ong, ... . a..52 . . . . a 136

98. Youn MjanChief tain, m..54 . ... .a.a . . 137

99. _O a Screen, mm. 5-9 ...... 137

100. Hihwaymen, mm. 1-3 ...... 138

101. Oda1isque, mm. 1-2 ...... 139

102. To a Youn Gentleman, m a 10-11...... 139 103. To Yo Gentleman, mm. l-2 . . . . a. . 140

104. theay,eMaiden, mm. 4546 . . .. a . . . a 141

ix CHAPTER I

RESUME OF THE HISTORY OF THE ART SONG

The development of the art song,1 the most romantic

of musical forms, paved the way for a newer and greater

achievement in the world of music. When we stop to

examine the heritage and observe the extent of our wealth,

we have reason for amazement and delight.

For here is an increased sincerity of utterance, a greater range of subject matter, a more elabo- rate and symmetrical form, a, nicer adjustment of the music to the poetic mood and meaning, and a more consummate elaboration and enrichment of man's feeling than could be found in other musical forms. 2

It is difficult to imagine that the art songs of

Schubert, Schumann, and Brahms, or of our American composers

could have had their origin in the harsh gutteral howlings

of savages. It is well that we turn back the pages of

time to foreshadow the development of the art form before discussing the twentieth century art songs of John Alden Carpenter.

1i.e., song as a personal creation aiming at artis- tic perfection," Willi Apel, Harvard Dictionary of Music, p. 698.

2Conway Walker, The Art. Son and Its Composers, p. 2.

1 2

Music began with singing, and "the only working hypothe- sie admissible is that the earliest music must be found among the most primitive peoples." 3 The singing, though very elementary,, conveyed the emotions and religion of the people.

As for the tradition of Occidental art music, it took more than twenty centuries of growth for the music of the ancient Greeks to develop into the art song form of the nineteenth century Romantic School. Whether in the simple lyric song or in the massive choruses, the musical art of ancient Greece was basically melodic.

The Greeks had no vocal polyphony except those octave parallels forced upon singing by the co-operation of high- and low-pitched singers in choruses. . . . We do not know how closely the instrument followed the voice; but we know for certain that the strict unison that most modern authors have claimed for preclassical times is out of the question. Unison is neither usual nor even natural--nowhere in the primitive or Oriental world has such a practice existed. The role of instru- ments is often confined to just restriking the main note, to adding a short ostinato motif, or to playing heterophonically," that is, in our own words, to interpreting the same melody according to the personal tastes and abilities of the players and to the special conditions of their instruments without caring "for the consonant, or at least pregnant, ['sicj , char- acter of their collisions."

The earliest form of Greek song of which we know appears to have been the nom , originally a traditional

3 Curt Sachs, The Rise of Music in the Ancient World, p.. 21.

4 lbid., p. 256-7. 3

melody (possibly only a short phrase) to the accompaniment

of the cithara or the aulos, employed for the Homeric epics

(c.1000LOB.C.). 5 The first composer of whom we have any account is Terpander of Lesbos (c.675 B.C.), regarded as

the founder of Greek classical music. 6

Singing played a large part in the religious, public,, and private life of the Greeks, but eventually fell into

the hands of actors, courtesans, and wandering musicians.

Musical art, after its decline in ancient Greece,, was intro- duced into the Roman Schools by Greek pedagogues. Of this period, Mesomedes (117-138 A.D.) is the only composer whose works remain.7 These have a resemblance to the Christian hymns of a later date.

By the end of the fourth century, the Christian Church' had incorporated music and poetry into its services, which consisted of the hymns and antiphons. The hymns were inspired by the secular songs of the humble adherents to the new faith. They were of greater simplicity than the pagan lyric song, and dild not aim at emotional expression. The

5 Gustave Reese,, Music in the Middle A , p., 11.

6 Willi Apel, "Greek Music,.' Harvard Dictionary of Music, p. 302.

T A hymn by Mesomedes can be found in Archibald Davison and Willi Apel,. Historical Anthology of Music, Vol. I, p. 9. 4

antiphons were short Scriptural or similar texts set in

simple, syllabic style.8

In the early middle ages, secular music, though prob-

ably extensive, was not preserved. One of the earliest

known secular songs, the of Sibyl, written down around

the middle of the tenth century, has endured essentially

unchanged for many centuries.9

The real art of solo song was created by the trouba-

dours and trouveres, two minstrel groups in France, and

their successors, the German minnesingers. These groups

flourished from the end of the eleventh century into the

fifteenth century, singing their expressions of love, polite

tics, and other subjects. 1 0 Guilhem IX, writing between

1087 and 1147, was the earliest composer of troubadour music, of whose works we still possess examples-. 1 1 The songs were accompanied by a viol or some other instrument, but the accompaniment was improvised, not written, and the words were considered the most important part of the song.1 2

8 Willi Apel, "Antiphon," p. cit., p. 40. An example in Davison and Apel, Historical Antholo of Music, i, 9.

9Reprint in Gustave Reese, Music in the Middle A , p. 199. 1 0 8ee ibid., p. 212-16.

1 1 Ibid., p. 211.

12 An example of minnesinger music, ?waeyn vriund, by Spervogel, can be seen in Davison and Apel, Historical Anthology of Music, p. 18. 5

Guilds of craftsmen who cultivated music brought about the change from the minnesinger to the meistersinger. This group established fixed technical rules which banished all expression and spontaneity from the compositions of both verse and music. Hans Sachs (1494-1576), who wrote Der

G laden Tod, was one of the better known and one of the last meistersinger composers. 1 3 Under the burgher class, this development reached its climax in the sixteenth century.

Meanwhile in France during the fourteenth century were produced works of great importance and of distinct value, notably by Guillaume de Machaut (1300-1377), which show free contrapuntal texture, supple rhythm, curved lines, and have individuality and creative imagination. In the motets,

Machaut continued the tradition of the past, but he estab- lished a completely new style in his secular works by aban- doning cantus-firmus treatment as well as successive counter- point, and by creating the new musical style known as "melody with accompaniment." It was at this time that France set free the song that had been placed under strict rules. The important thing was the fact that the song was accompanied and was originally conceived as a three-part composition rather than a monophonic piece with added parts (e.g.,

1 3 Davison and Apel, Historical Antholo f Music, I, p. 21. 6

Machaut's Depuis trop bien).A4 With Machaut came the end of one-line writing in art music.

During this same period also developed the Italian "ars

nova." Duple rhythm became as legitimate as triple rhythm, and, as in the French "ars nova" of Machaut, the melody-- more florid in Italy--is to be found in the upper voice while the lower parts, again as in France, approach the char- acter of an accompaniment. It was at this time, too, that poetry and music became equal in importance.1 5 The two out- standing early composers were Giovanni da Cascia and Jacopo da Bologna,16 while later in the period comes Francesco Landini (1325-1397). The main forms of composition were at first the two-voiced madrigal and the three-voiced caccia, and later, the three-voiced ballata. No accompanied solo music was written in Italy before Landini, among whose works are found ballate for solo voice and two instruments. 1 7

The earliest important figure of the following century, John Dunstable (c.1370-1453), although English, was as enamoured as any of his contemporaries of Italian melody.

1 4 Davison and Apel, Historical Anthologyof d , Vol. I, p. 48.

1 5 Alfred Einstein, The Italian Madrigal, Vol. I, p. 13. 16 Examples of a Caccia by Bologna in Davison and Apel, P.?. c it., p. 52.

17Seefor examples Nos. 101-103 in Leonard Ellinwood, The works of Francesco Landini. 7

Favouring the simple, straight forward rhythm of folk tunes and chansons . danger, he had a high sense of plastic beauty in melody and appears to have been the first composer who was aware of har- monic sequences as such. l

Toward the middle of the century, musical art centered in

the Gallo-Belgian School, headed by Dufay (1400-1474) and

his successors. Although better known for their elaboration

of choral polyphony, these composers contributed to the solo

vocal literature in the forms of sacred and secular settings

for voice with one or two instrumental accompanying parts.19

With the development of music for the lute in the early

sixteenth century by Italian and Spanish composers, the solo

song became an important influence in the Renaissance Art

Song. The use of the lute made it possible for the singers to sing a tune and accompany themselves with a simple

chordal, or sometimes even a quasi-contrapuntal, accompani-

ment. Solo singing with lute accompaniment predicted a

new era in musical art. Though it had existed among the

people, it had never been considered an art form. Solo

singing was a direct result of the Renaissance which

emphasized individuality. Examples of the lute songs of

Spanish composers are Toda la vida vos ame and Falai miaa

1 8 Henry Prunieres, A New History of Music, p. 75. The solo song, rosa bjTDunstableJ, in Davison and Apel, 2_"pi&,,pe~r. 19 See examples by Grenon,, Dunstable, Dufay, and Ockeghem, in Johannes Wolf, Music of Earlier Times, Nos. 10-14. 8

amor of Luis de Milan (1500-1561),20 and a collection of songs in the book Los seys libros Delphin de Musica

(1538), by Luis de Narvaez. 2 1 In France, we find the lute

song in the form of the air de which first appeared

about 157022 and continued to be cultivated throughout the

seventeenth century when it was succeeded by brunettes,

vaudevilles, bergerettes, and various other lighter types

of chanson until the late nineteenth century when, as we

shall see,. the modern French art song for solo voice first

makes its appearance. In England, around 1600, a large

number of beautiful lute songs were written by Thomas Morley (1557-1603), and John Dowland (1562-1626).23

At the beginning of the seventeenth century, a work

entitled Nuove usiohe (New Music) by Giulio Caccini, pub-

lished in 1602, established solo song as an important

branch of music of the future. 2 4 He included his own set-

tings of poems, intermingling recitative with tuneful move-

ments and florid passages of technical difficulty. These

20J. B. Trend, Luis Milan and the Vihuelistas, pp. 101-4. 2 1 Luis de Narvaez, Lo sses libros del Delphin de musica dec cifra para taer rihuela, pp. 58-82. This work also con- tains the earliest examples of variation form in lute music. 2 2 Prunieres, A New History of Music, the Middle As _to Mozart, p. 252. See the fragment from Adrian Le Roy's 1571 publication, Airs de cour mis sur le lam, ibid., p. 155. 2 3Modern reprints in Edward H. Fellowes, The Enlish School of Lutenist Song Writers. 24 Facsimile reprint in Reale Accademia D'IAia, Vol. III.

a~. 9

compositions are madrigals for solo voice, with a figured bass alone replacing the completely written out (in tabla-

ture) accompaniments of the sixteenth century. 2 5 Examples

of this new type of solo music by Luzzascho Luzzoschi

(1550-1607) show the songs to be very florid with fully written accompaniment instead of the usual simple figured bass. 2 6

These monodies, as they were called, were important as the beginning of a new style of singing. This type of solo had a chordally conceived melody and accompaniment with supporting bass and was characterized by virtuoso embellishment. It has been regarded as the most important turning point in the entire history of music. 2 7

Musically the most important early seventeenth century figure was Monteverdi (1567-1643) who established opera as the most popular form of musical expression. He regarded music as the supreme medium for the expression of human emotions and the intermingling of consonance and dissonance as the most effective ways of conveying them. His work

2 5 8ee Hugo Riemann, Handbuch der Musikgeschichte, 112, pp. 17 and 19; Arnold Schering, Geschichte der Musik in Beispien,, pp. 191-6; Davison and Apel, Historical Anhology off Music, Vol. II, p. 3.

26 premavera in Schering, eschichte der Musik in Bei- spielen, p. 176. Dr. Otto Kinkeldy informs the writer that this is one of the earliest pieces to have fully written accompaniment. 27 M. F. Bukofzer, Music in the Baroque Era, p. 25. forms a landmark in the history of the art song for it established a degree of expressiveness much admired by later composers.28

During the seventeenth century, Italian music gradu-

ally crept into Germany where solo singing was well known

and solo songs with lute accompaniment were numerous. The

music of this country had a seriousness of intention, a

deep religious feeling and sturdy emotional power, conveyed

in broad, simple, and naive melodies, and the rhythmic

cadence of the folk songs, which laid the foundation for modern lyric song.

The earliest monodic collection in Germany was Johann

Nauwach's Arie Passeiate of 1623, which includes a para-

phrase of Caccini's Amrilli.29 A great leader of the continuo song was Heinrich Albert (1604-1651),. nephew of

Heinrich Schutz. He was a pioneer in the use of the basso continuo and composed hymns and secular songs (Arin, 1638-

1650) somewhat in the manner of a through-composed lied.3 0

Johann Franck (c. 1641-c.1695), equally distinguished as

composer of opera and sacred music, tended to merge the

style of his sacred continuo songs and those of his opera

2 8 Examples of the arias in Monteverdi' s operas, Rosa del ciel and Lasciatemi mom Schering, ~pp..200-204. in Geschichte der Musik in Beispielen, p 2024 w i 29Bukofzer, Music in the Baroque Era, pp. 99.

Ibid.,, p. 101. Examples seen in Davison and Apel, Historical Antholoy of ,:p. 42. 11

arias so that they became practically indistinguishable.31

Philipp Erlebach (1657-1714), the most eminent composer in

the smaller forms, composed the Harmonische Freude (1.1697,

11.1700) which is regarded as the most attractive collection

of continuo songs of the period. 3 2 These songs declined in popularity during the first half of the eighteenth century in favor of the more elaborate operatic aria on the one hand, and the ballad type of verse-repeating songs on the other,. as we shall see.

In England, the successors of Dowland and Morley in the field of solo song were the composers of the music for masques, among them Henry Lawes (1596-1645).33 In the next generation, composers like Matthew Locke (1633?-1677) occasionally wrote a separate solo song,3 4 and at the end of the century we find Henry Purcell (1658-1695),, with

William Byrd probably the only English composer of the first rank until the twentieth century. Purcell was a prolific composer and his large output covered many fields.

Dido and Aeneas (1689), Purcell's only opera in the strict

3 1 Bukofzer, Music in the Baroque Era, p. 313. 3 2 Ibid., p. 313. Examples seen in Davison and Apel, Historical Anthology of Music, p. 142. 3 3 An air, "Sweet Echo," from Lawes' music to Milton's masque Comus (1634) is to be found in Davison and Apel, oa. ci_., II, No. 204. 34 "To a lady singing to herself" in Matthew Locke, Three songs, ed., Anthony Lewis (Miniature Songs series), Paris, The Lyrebird Press, c.1938, p. 5.

4W 12

sense of the word, was not the first opera composed in

England, but was regarded as the first opera worthy of the name produced in the country. 3 5 The songs, particularly

those he wrote as incidental music for plays, are the com- positions that have endeared Purcell most to posterity.

He was a man of changing moods and sympathies, and "no

composer has shown a greater care or precision in accentu- ation or a greater care for the inflections of the poet's 5 6 text." With Purcell came a stronger, purer, and more independent melodic invention and as a melodist he was and

7 is supreme3 (e. g., I attempt from love's sickness and

Nymphs and Shepherds).

During the eighteenth century, particularly in England, the verse-repeating folk tunes of the type employed in ballad opera were very popular. Toward the middle of the century, however, we find K. P. E. Bach (1714-1788) son of

Johann Sebastian Bach, 5 8 to be among the first to take steps toward the through-composed setting characteristic of the

35Henri Dupr4, Purcell, p. 55. 6 3 J. A. Westrup, Purcell, p. 164. 37Ibid., p. 254.

38j. S. Bach's main contribution to the solo art-song seems to have lain in the support he gave to the principle of equal temperament which made it possible to incorporate modulation and transposition which have been so widely used in art songs. Enharmonic modulations, as those in Schumann' s pidmun; and Debussy's Mandoline could not have been used otherwise. 13

highest type of nineteenth century Lied. In the preface

to his settings of Gellert's Geistliche Oden udLid, published in 1758, he explains his new plan of song com- position:

The songs are not in ballad form with the same music and melody for each stanza; nor are they composed in the aria form so prominent at that time. They are in a form inspired by the words. 3 9

Joseph Haydn (1732-1809) and Wolfgang Mozart (1756-

1791) contributed to the development of the art song, even though their efforts were not extensive. Mozart was greatly influenced by the Italian musical forms. He combined a truly singable quality with dramatic power; generally wrote in aria style; knew the possibilities of the voice as well as its limits; and had an unerring sense of melodic grace and euphony (e.g., Dea Veilchen). He wrote charming melo- dies set to poems, none of which was undertaken as a serious attempt at song writing. The greatest of Mozart's art songs is the bendempfindung.40

Haydn, unlike Mozart, did not take song lightly. The few songs he wrote are carefully done and for them he wrote almost symphonic accompaniments. However, they are stilted and betray annoyance at being confined to expressing the poet's thought (My mother bids me bind y. hair). His greatest influence upon song was exerted through his larger

3 9 Conway Walker, The Art Song and Its Composers, p. 13. 40Eric Blom, Mozart, p. 186.

q 14

works. He led the way in imitating the sounds of Nature, in depicting concrete ideas, thereby expressing greater realism in music.41

Ludwig van Beethoven (1770-1827), as an inciting influence in Romantic music, exerted a marked influence upon song. In a conversation with Friedrich Johann

Rochlitz, Beethoven remarked, "I do not like to write songs.

. ".42 In spite of this, he wrote over sixty numbers.

He varied the aria form, gave greater elaboration to the accompaniment, changing it with each stanza to vivify the varying moods of the poet, and exhibited a realism unknown

(e.g., Adelaide). However, his songs frequently show a lack of understanding of the limits of the human voice

(e.g., Ah perfido and Abscheulicher from Fidelio).

Beethoven's works are the bridge between the simple songs of the eighteenth century and the perfection of the Lied by Schubert. His earlier works are considered to be of little value; however, his later works show the real beginnings of German Lied. Vom Tod shows his sensitivity to the inflections of poetry. Beethoven conceived and originated the song cycle form, the Liederkreis (e.g., An die ferne Geliebte, 1816) which Schubert (e.g.,

4 lExamples may be seen in Straight opening her fertile womb, _On mighty pens, and Rollin n foaming billows from the Creation.

420. G. Sonneck, editor, Beethoven: Impressions of Contemporaries, p. 126.. 15

Schwanenesan , 1828), Schumann (Frauenliebe und Leben, and

Dichterliebe, 1840), and Brahms (Vier ernste Gesanje, 1896)

later used, and he made some settings of folk songs. On the whole,, Beethoven's attention was centered mainly on large instrumental forms like the sonata and the symphony.

Franz Schubert (1797-1828), the creator of the modern art song, was the most spontaneous and most prolific lyricist the world has ever known. With Schubert came the real development of the through-composed Lied,. in which each line, each phrase, and even each word has its own idiom of musical expression. He possessed a profound love for Nature and a subtle sympathy and understanding of her manifold aspects, and was among the first to direct his attention to unfamiliar fields of imitation,, modulation, and dissonance. Herein lay the secret for the creation of lovely and distinctive moods for entire songs.

Schubert composed over six hundred songs,, and for these, he used the literature of the past, as well as that of his day. He wrote settings to poems by Shakespeare (e.g., An

Sylvia from The Two Gentlemen of Verona), Goethe (b.g., Erlkin ), Heine and Rellstab (poems forming the Schwanen- gesan;),. and song cycles by Muller (Die Scho$ne M llerin and

Die Winterreise)., The elements in Schubert' s songs are many and varied. They include the string quartet style

43Marion M. Scott, Beethoven, pp. 209-213. These he composed on commission and turned out poorly.

imq MMAMMWWA- - 16

(Das Wirtshaus), the folk song (Haidenrbslein), and the piano sonata (Ungeduld). One mark of his greatness can be seen in the Erlkin where, in the narrative style of the art ballad, the words and music are unified perfectly. He had a gift for reflecting the emotional contents of the words into the music.

Probably one of the greatest assets in helping Schubert make his contributions to the literature of the Lied was the development of the piano just prior to his career. This presented new opportunities in the widened dynamic range and greater tonal resonance of the new instrument. These new potentialities of the piano made possible Schubert's greatest contribution--the development of the inner parts of the piano accompaniment. He felt that the piano part was as important as the vocal line and set down the exact notes he wished to be played. In spite of all the devices and styles in his songs, the outstanding quality of many of the most famous of them is that of great simplicity (e.g., Ave Maria, and St ndchen).

Carl Loewe (1796-1869), the greatest of ballad writers, was endowed with an immense emotional power and discovered an outlet through the medium of both dramatic interpretation and the composition of dramatic musical settings. He indi- vidualized the characters of the ballad, not only through the melody, but also by means of dramatic and realistic accompaniment, employing a technique of Leitmotiv which 17

Wagner carried out.44 Two notable examples are his most

famous songs Erlking and Edward, written while still a stu-

dent in college.: He made great use of dissonance and modu- lation. Loewe appears to have been the last composer to give serious attention to the art ballad and to dramatic

song, After him, art song was led through the fields of pure lyricism by Schumann, Franz, Brahms, and Wolf.

Robert Schumann (1810-1856) utilized the same song form (i.e., through-composed lied) established by Schubert,, and his songs arewritten with the same fervor which char- acterizes the latter's work. Widmun ("Du meine Seele, du mein Herz") is a masterly analysis of the inmost subtleties of the human emotion, and reveals the fact that he never lost sight of the mood of the song. He was very sensitive to the dramatic and emotional content of the verse and he elaborated this feeling in his accompaniments, which showed a predominance over the voice heretofore unknown (e.g.,. Der

Nussbaum). The song cycles Frauenliebe und Leben and

Dichterliebe are two of his best known works. Characteristic of Schumann's cycles is the inconclusive ending of the indi- vidual songs-each song resolves at the beginning of the following song (e.g., yrthen).

4 4 Albert Bach, The Art Ballad, Loewe and Schubert, p. 114. 18

Franz Liszt (1811-1886), a brilliant pianist, and

pupil of Ozerny, Salieri, Paer, and Reiche, wrote about

sixty songs, but his interest lay in instrumental music.

He was to a large extent, responsible for the growing interest in musical nationalism, and he refashioned the concept of piano playing, adding enormpusly to the possibilities of that instru- ment.

Liszt's songs are very simple both in the vocal line and

in the accompaniment, and usually consist of short phrases

(e.g., Du Bist Wie ine Blume and Wanderers Nachtlied).

Robert Franz (1815-1892) is perhaps the least known

and least appreciated of all the great contributors to

the world of song. These facts are due to the complete

absence of dramatic element in his music, as he disliked

all that savored of the dramatic. However, in 1850, Franz

heard Lohe in and was so impressed with it that he dedi-

cated his Opus 20 to Wagner.

It is strange that Franz should have ever cared for Wagner's music, for he hated drama, with or without music, went to the theater only once in his life, and confessed that Mozart's operatic music unfolded its full significance to him only in the concert hall.4 6

Franz found the exact medium for his genius in the deli-

cacy of lyric poetry. In his poems for musical settings he showed good judgment, using only those which, as he states,

"made music grow out of the text." His songs are models of

4 5 Theodore M. Finney, A History of Music, p. 468.

4 6 Henry Finck, Sonds on Writers, p. 136.

. - - - 19

lyric beauty, of easy and graceful motion, peaceful and flowing rhythmic patterns intended only to reflect the poem in a musically imaginative and idealized form (e.g., Zwei

Welke Rosen). The accompaniments, abounding in polyphonic writing and harmonic design in which the piano and voice parts are equally important, have a distinct individuality of their own (e.g., Abends and Aus meinen grossen Schmerzen).

Robert Franz once said to a friend that he did not believe the melody of a song should always "hover over the accom- paniment like a butterfly" but should also appear in the pianoforte part. 4 7 The secret of Franz's art lay in scale sequence rather than in chromatic gradations (e.g., Die

Liebe hat gelogen). Another harmonic feature was Franz's use of modulations; like Wagner, he had an emotional reason for the modulations (e.g., Ic hab in deinem ) In a letter to Liszt, Franz stated, "as a rule modulation deter- mines the emotional development much more than the melody does."4 8 He had no great gift for melody and his melodic lines, like those of Liszt's songs, are no more than short phrases (e.g., Fur musik).

Johannes Brahms (1833-1897), one of the best known composers of Lieder, has had many admirers of his music as well as many enemies. The reason for this is

4 7 Henry Finck, Musical Progress, p. 101.

4 8 Henry Finck,d. Son s eWriters, p. 148. 20

his sturdy independence, his scorn of affectation and sentimentality, and his uncompromising adherence to t'e strictest laws of musical order and structure.-

He refused to seek art in the expression of exaggerated

emotions and feverish passions, and strove for simplicity,

conciseness, and poise. Brahms differs from Schubert in

his fuller elaboration of the poet's ideas. During his

entire life he returned again and again to the arrangement

of folk songs (e.g., Vor dem Fenster). Inspired by the

folk song tradition, he wrote songs so similar to those of

the people that they might almost be considered true folk

songs (e.g., Sonntae and Wiegenlied). His accompaniments, although possessing a thickness

of texture, are relegated to the background and attract as

little attention as possible in order not to mar their

native simplicity (e.g., Der Schmied and Wiegenlied). How-

ever, he was a-genius at re-creating by means of harmonic

progressions and modulations the moods inspired by the i doch _den We words (e.g., Die Trauernde and 2 a h

Zurxick). The accompaniments generally consist of arpeg-

giated figures in the treble part, sometimes in single

notes and sometimes in chords (e.g., Trennun; and Botscaft).

It is often the case that the bass parts are very strong

but not as thick in texture as the treble part (e.g., So

willst du desArmen and Der Jamer). His greatest love was

49Walker, The Art Song and Its Composers, p. 58. 21 for strophic song (i.e., all verses are written to the same melody) but he did not adhere to similarity in the accompani-m ment (e.g., adchenlied). Niht mehr u d u ehen and

Meine ist n are two of Brahms' songs that have accom- paniments that are complete in themselves. Above all, he strove to reflect the sentiment of the verse in his music.5 0

Of his two hundred songs, besides folk songs, he set poems of love (e.g., Wie b du meine K~ien) and of nature (e.g., Mainacht).

Hugo Wolf (1860-1908) had a great ability in the por- trayal of moods and a keen sense of poetic values (e.g., Zur

Ruh, ur ), and he seldom, if ever, sacrificed word accentuation 5 1 to fit the melodic phrase. His songs were not written for voice with piano accompaniment as the com- posers before him had done; he composed them for piano and voice together (e.g., Er ist's and Anakreons Grab). Wolf did not shift from one poet to another, but continued to set the poems of one poet until he had exhausted his inter- est in their possibilities. All the songs in each group are so closely related that they sound out of place when set among songs of another group.5 2

50 Edwin Evans, Handbook to the Vocal Works of Brahms pp. 16-22.a

5 1 As, for example, did Brahms occasionally (opening phrase of Wie bast du meine K n2ien). 5 2 Ernest Newman, Preface to the Fifty Sons of Huo Wolf, pp. ix-xii. 22

The music of Gustav Mahler (1860-1911) is a deeply personal expression, showing the vivid reflection of his intense spiritual experiences. Mahler wrote few songs, but employed the human voice in his orchestral works to carry the poetic message. Das Li_ wonder Erde is his supreme example of this manner of expression, as it is also the deepest and most successful of his orchestral song cycles.5 3

The first thing that one notes about the songs of

Richard Strauss (1864-1949) is their difficulty, and the composer's preference for unusual keys. The art of tonal coloring, noticeable in the orchestral works, is also applied to his piano parts.5 4 The accompaniments are elaborate, but do not cover the voice (e.g., Morgen).

The songs are not much easier for the singer than for the pianist, and they are not for the amateur singer.

Close to the stream of German art song lie certain composers from smaller countries of Europe, for even the most prominent of whom there is space here only for the briefest mention. On the whole they represent reactions against the suffocating influence of German domination in nineteenth century music, and they made it a point to cultivate a self-conscious nationalism in their music--

5 3 The International Cyclopedia of Music and Musicians, edited by Oscar Thompson, pp. 1073-4.

5 4 Finck, So and Song Writers, pp. 171-2. 23

especially in their operatic and orchestral works. Never-

theless they often chose German as well as native poetry for their songs.

Although, as Gerald Abraham observes,5 5 one cannot

speak of a Scandinavian "school" of composers, there is

the figure of Edvard Grieg (1842-1907) who, influenced by

the composer Richard Nordraak (1842-1866), helped found

(1864-1865) the Euterpe Society for the promulgation of

Norwegian music and in 1866 gave, with his wife and the

violinist Ime. Norman Neruda, the first concert ever made

up wholly of Norwegian music. 5 6 Grieg wrote over one hun-

dred and twenty songs, to German texts (the six songs of

op. 48) as well as Scandinavian (Ibsen's En Swane). In

passing it should be noted that his most familiar song,

usually known by the English title "I love thee" or the

German "Ich liebe dich," was written to the Danish "Jeg elsker dig" of Hans Christian Andersen.57

To the southeast of Germany, the Bohemians or Czechs

were more successful in establishing a national school, the

first important figure of which was Bedrich Smetana (1824-

1884) whose song output is meagre beginning with the early

5 5 Gerald Abraham, A Hundred Years of Music, p. 185. 5 6 G. W. Harris, "Grieg," International Cyclopedia of Music and Musicians, edited by Oscar Thompson. 57bidT 24

Erste Lieder to German texts and concluding with a cycle of five Evening Songs to Czech words. Even in the works of the better known Antonin Dvorak (1841-1904) song com- position plays a minor role despite the onetime popularity of Songs my Mother tauht me and the Biblical Songs of

1894 whose source is that of the Vier ernste sje (1896) of his friend Brahms.

Far more important was the Russian school, notably-- for the evolution of the art song--Mussorgsky. Although the so-called "father" of the Russian school, Mikhail Glinka.

(1805-1857) wrote about eighty-five songs, including a cycle

(Partin from Petrsburg, 1839) the majority of them are described by Abraham and Calvocoressi as belonging to the

"dilettante type of romance."58 Alexander Borodin (1834-

1887) wrote about a dozen songs--some to his own words, as well as a setting of Heine's Aus meinen Thraenen, also treated by Schumann in his Dichterliebe--which are on a small scale but cover a wide range of expression, and, though not familiar to western audiences, are apparently not without merit. 5 9 Other Russian composers whose songs: are better known, like Tchaikovsky and Gretchaninoff, belong to the periphery of the German Lied, and there

5 8 Gerald Abraham and M. D. Calvocoressi, Masters of Russian Music, p. 18.

See G. Abraham, Borodin the Man and His Music, pp. 158-74; also idem, "Borodin's Songsi On Russian Music, pp. 169-178. 25

remains the towering figure of Modest Mussorgsky (1839- 1881) who "as a song writer stands unique and inimitable.' 6 0

In line with what Abraham calls "the Russian gift for con- ciseness, economy of texture, and directness of expression:' 6 1

Mussorgsky's songs are characterized by a careful decla- mation of the vocal line and a sparse accompaniment which would suggest that they might have influenced Wolf were it not for the fact that, according to Abraham6 2 they were practically unknown in Germany until after Wolf's death.

There are reflections of Russian folksong and rhythms in his music (The Country Feast),63 and the new elements of stark realism (The Ophan Girl)6 4 and humor (The Seminarian) 6 5 are introduced for the first time in art song. Of the other countries, England and Spain were creatively dormant in music, while Italy was preoccupied with opera, and there remains only France to consider.

French art song did not begin to develop until the nineteenth century with Hector Berlioz (1803-1869). In the eighteenth century, before the development of this French art song, the French song consisted mainly of popular folk

60M. D.. Calvocoressi, "Mussorgski, " International Cyclopedia of Music and Musicians, edited by Thompson. 61 Abraham,, A Hundred Years of Music, p. 176. 6 2 Ibid., p. 242.

6 3 Kurt Schindler, editor, Masters of Russian Sons, p. 14. 64 Ibid., p. 22. 6 5 Ibid., p. 25. 26

songs which had developed from the seventeenth century

brunette (simple love song), bergerette (pastoral lyric

song), and vaudeville (current street songs).6 6 Berlioz's

songs (e.g., the song cycle, suits d'e'te', 1834) stimulated

the art song in France, even though they are not widely

accepted as being great.

Forerunners of the French art song include the French opera composers Georges Bizet (1838-1875), Charles Gounod

(1818-1893), both composing few songs, and Jules Massenet

(1842-1912), who composed about two hundred songs. Their contributions to song literature, although not masterpieces, include uvre ton coeur,, Quand tuchantes, and Ouvre tee eu bleus, respectively.

The first important contributions to the art song in

France were made by Cesar Franck (1822-1890), who is con- sidered to have begun the French awakening, since his songs

(e.g., La Procession) encouraged other composers to venture seriously into this realm; Gabriel Fauri (1845-1924) with his originality of melodic ideas, and his harmonic support to match the mood of the poem (e.g., Sjoi); Henri Duparc

(1848-1933) whose piano parts in his songs are of signifi- cance in that they are as outstanding as the vocal parts

(e.g., Phidyle and L' Invitation au voyae);67 and Ernest

6 6 Apel, "Chanson," Harvard Dit.ony of Music, p. 130. 6 7 E. B. Hill, Modern French Music, pp. 91-94 and pp. 144-146. 27

Chausson (1855-1899), a pupil of Franck, whose songs are in the same tradition as those of Duparo, but show the individu-

ality of style and feeling,. and an unusual beauty of lyricism

(e.g., )

Claude Debussy (1862-1918), one of the most subtle of musical geniuses,, is one of the most important composers of

the French art song. His songs are not dramatic, do not tell a story or illustrate an episode. Each maintains a. mood, usually of a melancholy nature (e.g., I pleure dans mon cosur),, and contains no sentimentality or over-empha- sized emotional content. The songs have rich harmonic colorings and have new shades of lyric emotion. Debussy's piano accompaniments are as outstanding as his vocal lines-- as were Schumann's.. Like great art song composers, Debussy wrote his vocal lines to conform to the rhythmical accents of the text. This device was sometimes sacrificed, however, in order to maintain a mood (e.g., Les ing4nus).

With the songs of Debussy we come to the end of the

European forerunners of Carpenter, since the reaction against

Romanticism by Arnold Schbnberg has no direct bearing on the art songs of this study. CHAPTER II

THE ART SONG IN AMERICA

The development of the art song in America was a

slow process, with few outstanding names and with little

history behind the form. European influence, strong and

lasting, has been with us in American music from the beginning of its development.

The earliest songs in America were the folk songs,

which showed the influence of the ballad opera from England.

The early American songs were of the ballad type and were

almost invariably strophic with a narrative text (cf. ante p. 12). The first American art song by a native composer,

SDays! Have Been So Wondrous Free (1759) was written by Francis Hopkinson (1737-1791).l

During the later part of the eighteenth century began

the migration to America of musicians from other lands

which was to mean so much to our musical development. The

first musicians,. James Bremner (?-1780 possibly the

teacher of Hopkinson), William Selby (1738-1798), and

Peter Albrecht von Hagen (?-1803) were from England. In

this period occured the disrupting effect on music due to

1 Reprint in Louis Elson, The History of American tu ic,,v p. 408..

28 29

the Revolution.. Music came to a standstill and at the war's conclusion,, the quiet life was exchanged for one of uncer- tainties and new responsibilities, in which the untried

State tried to develop its own political and art conscious- ness, which was reflected in the new music.

At the beginning of the nineteenth century (1800-1825), there was an increase in the influx of musicians from Europe, who, through their skill and musicianship, proved helpful to

American music. Alexander Reinagle (1756-1809), Raynor Taylor (1747-1825), Benjamin Carr (1769-1831), James Hewitt

(1770-1827), Victor Pelissier (dates unknown), and Gottlieb Gtaupner (1767-1836), were a few who took it upon themselves to see that America should hear the best music of the world.

Of this group, Carr, Hewitt, and Pelissier were the most important. Carr began composing songs with his most suc- cessful to the gin (1810).2 Long sustained tones, flowering out at its close into the most delicate shades and tints, are characteristic of Carr' s music. 3 In 1794,

Hewitt's opera Tamman was performed in New York, and it was the earliest of American operas on Indian subjects

Pelissier is notable for having written the first opera of

2 Reprint in William Upton, The Art Son i America, pp. 19-22. 3Ibid., p. 22.

'Edward E. Hipsher,, American Opera and Its Composers- p. 24. 30

which all parts are known to have been created in America,, Edwin and Aneelina (1796), based on Oliver Goldsmith's-

ballad (1764). His songs are smooth, flowing, and lyrical,

and he developed the accompaniment into an independent part, with a separate staff for the voice.5

The most important event of the following twenty-five

years was the definite entrance of Germany into the musical

life of America. Otto Dresel (1826-1890), a pupil of

Mendelssohn,, and a concert pianist and teacher in Boston, was probably the most thoroughly equipped musician who had as yet come to America (1848). He introduced German music of the highest quality, especially the songs of Robert

Franz.. At this same time also came Wulf Fries (1825-1902), a self-taught violincellist, and Frederic Brandeis (1835-

1899), pupil of Carl Ozerny. These men helped to promote

German music in the new world.

The next step came when there arose a group of young musicians, born in America, who may be called the first bonafide American musicians. Two of these were William H. Fry (1813-1864), student of L. Meignen, who ha~d received training at the Paris Conservatory, and George Bristow

5 An example may be seen in William Upton, The Art 8ong in America, p.26. 6 Theodore Baker, "Otto Dresel," B o ethical Dictionary of Musicians. 31

(1825-1898). Fry, who pleaded for independence in our music, and thought that "we should follow no man,," wrote

Leonora (1845), based on E. Bulwer Lytton's The Lady of

Lyons,, the first publicly performed grand opera by a native composer.7 Fry wrote no detached songs. George Bristow had a keen sense of harmonic color, and used a new style of modulations--turning toward the mediant keys (instead of the dominant and subdominant), and employing enharmonic. tones for modulation (iney hath seen thep).8

The first famous composer whose songs have lived into the present was Stephen Foster (1826-1864). His early songs

(ta Summer Breath, 1848) contain no suggestion of the negro type of music (Uncle d and 0 Susannah, 1848) which later became known as the "Foster type of song." His works were written with a simple harmonic structure and melodic line to sentimental words. He wrote the words to all of his most famous songs, and his poetry is as natural as his music, forming one of the great charms of his works. The most famous songs of Foster, Qld Folks at Home (1851), y

Old Kentucky Home (1853), Jeanie with the lid brown hair

(1854), and Beautiful Dreamer (1864), his last song,.

7Alfred Loewenberg, Annals of Opera, p. 430.. Copy in the Library of Congress. Dr. Otto Kinkeldy presented excerpts from Leonora in concert-form (Pro Musica Society, Town Hall, New York, May, 1929). 8 Example in William T. Upton, The Art Son in America, p. 44-45. 32

composed a few days before his death, are sung with the same fervor today as when they were composed.

A Romantic School of song flourished during the later part of the nineteenth century and early twentieth century.

Some of the composers, though born in America, were still influenced by the European masters. Among them were J. K.

Paine (1839-1906), with whom orchestral writing had its= beginning in America,?, and Dudley Buck (1839-1909), with whom American church music had its beginning. Paine, primarily an organist, was the first American to hold the office of Professor of Music in a university--namely at Harvard University from 1875 until his death. He had received preliminary musical instruction from Hermann

Kotzschmar in Maine and then become a pupil of the Berlin

Hochschule, under Karl August Haupt, Friedrich Wilhelm

Wieprech, and Gustav Wilhelm Teschner. Paine wrote very few songs (I wore our Roses Yesterday). Dudley Buck, also an organist, was trained in America under W. J. Babcock,, and in Germany under Moritz Hauptmann, Ernest Friedrich

9 William Upton, The Art Sowgin America, p. 78. Upton refers to Paine as being the first American to do work of this type of really large calibre and solid work- manship.

l0 1bi d. 11 Theodore Baker, "John Knowles Paine," Biographical Dictionary of Musicians. 33

Richter, and Julius Rietz, and others. He wrote many songs ring'ss Awakening) most of which were sacred (_ Redeemer and & Lord). With Buck,, the gates of American song were opened. 1 2

To Arthur Foote (.853-1937) and George Chadwick (1854-

1931) we owe the development of the American song along artistic lines. Foote,; who wrote approximately one hundred songs (8hp that pass in the night), received his entire musical training in the United States, notably at Harvard under J. K..Paine., Chadwick,. student of Dudley Buck,, received most of his musical education in Leipzig under Karl Reinecke and Salomom Jadassohn, and in Munich under Josef Rheinberger.

Both of these men wrote chiefly instrumental music, but in their art songs can be found melodic invention, and a begin- ning of a more independent style of writing in American music-- both in the voice and in the accompaniment (Oh, let ngt speak tome,.by Chadwick).. "They gave to our native song a status comparable with that of other lands and times." 13

These songs have served as a firm foundation on which to build.

Other composers of note in the history of American song are Edward MacDowell (1861-1908);-Mrs. H. H. A. Beach (1867-

1944); Charles M. Loeffler (1861-1935); Charles Wakefield

Cadman (1881-1946); Charles Griffes (1884-1920); and John

12 Upton, The Art o in America, p. 78.

13 Ibid., p. 112. 34

Alden Carpenter (1876-1951).. Edward MacDowell, a brilliant pianist, was the first musician to receive recognition and admiration from European colleagues.1 4 He received his training in the United States, France, and Germany. Liszt became interested in MacDowell's music and it was through him that MacDowell was given the opportunity to play his first piano suite in Zurich in 18824 His songs (Midsummer' s

Lullaby) lack distinction, as his medium was primarily the piano. Mrs. H. H. A. Beach (1867-1944), an American pianist trained under Ernest Perabo and Karl Barmann,., devoted her- self more to composition, in which she was self-taught.

She composed approximately one hundred songs (Ah, Love but a dU, and The Year's at he Sprinp). Her writings show a much elaborated style, revealing a possible influence from Wagner and Brahms.

About the turn of the century the Debussy influence appears in the songs of Charles Loeffler (1861-1935). He

"avoided the deeply tragic and dealt preferably with themes of less passionate utterance. 1 6 Trained in France under

L. J.. Massart and Ernest Guiraud and in Germany under Eduard

Rappoldi and F. Kiehl, Loeffler is more distinguished in the field of orchestral music--being one of the earlier exponents

1 4 "MacDowell,, Edward A.," A Dictionary of Modern Music and Musicians, A. Eaglefield-Hull,, general editor. 15Ibid,

1 6 Upton, _The Art. $n in America, p. 250. 35

in America of the Impressionistic style (Les Pte ). Charles Cadman (1881-1946) received his musical education in Pitts-

burgh under Emil Paur and in Austria under Leo Oehmler and

Luigi von Kunits, and was greatly influenced by the music

of the Indians. He wrote many songs and adhered to a simple

style of composition (At Dawning).

If Charles Griffes (1884-1920) had lived out his life,

he probably would have made an important contribution to our

native music. Even in his short career, he composed songs

which are of lasting value, such as In a yrtle Shade, Wai

Kiki, and ThyyDarkyes to Mine.

His works disclose not only skilful craftsmanship but a morbid personal style coupled with unusual strength of expression which he brought about through the use of certain harmonic and melodic patterns. 't'

Griffes' music has a peculiar nostalgia and inner sadness akin to the German ehnsucht, and truly the lied B a Lonely Forest Pathway, ranks with the most perfect of Brahms and Wolf.10

Griffes received his training in America with Mary S. Broughten

and in Germany with Engelbert Humperdinck,, Max Julius Loewen- gard and others. His songs are of great range and variety,

and show reflections of the German School (Auf dem Teich).

However, he worked with all styles, and when he broke away

from the German influence, he usually turned to the later

17Griffes, Charles," Biographical Dictionary of Musicians, edited by Baker.

18A quotation by Dave Rudhyar in Edward M. Maisel, Charles T. Griffes, p. 110. 36

French School (Si imes Vers Avaient des Ailes) 1 9 or to the Orient (Poems of Ancient China and Japan). In his songs, he

seems less influenced by Debussy and his school than in his piano works (The White Peacock). 2 0

Perhaps one of the best known American song writes is

John Alden Carpenter, regarded by Walter Damrosch as being

"the most American of our writers."2 1 He, like many oom-- posers of this time, expressed more individuality and musical feeling than ever before. Whether or not Carpenter will be regarded as a great composer, can only be told by future generations. In the next two chapters his music will be dealt with in some detail.

9A more famous setting was made by Reynaldo Hahn. 2C) Upton, ThArt Son5 in America,. p. 250.

2 1 New York Times, April 27,, 1951,, 25:4. CHAPTER III

JOHN ALDEN CARPENTER

Descendant of John Alden, and son of George and Elizabeth

Carpenter,. John Alden Carpenter was born in Park Ridge,

Illinois, on February 28, 1876. Perhaps the greatest influ- ence on him in the field of art was his mother, with whom he had his first music lessons. She was a singer who had studied in Europe with Marchesi and William Shakespeare, but who had since confined her musical activity to singing in church.

Between 1887 and 1891, Carpenter studied with Amy Fay,. sister- in-law of Theodore Thomas, and pupil of Karl Tausig, Theodor

Kullak, and Franz Liszt. 1 From 1891 to 1893, Carpenter studied with W. C. E. Seeboeck, a composer-pianist from

Vienna, and student of Johannes Brahms..

Carpenter entered Harvard University in 1893, where he took all the music courses available and where he studied composition from John K. Paine. As a student at Harvard, he wrote for the Hasty Pudding Club and was president of the Glee Club. After receiving his A. B. Degree in 1897,2 he entered his father's firm, the George B. Carpenter Co.,

1 Amy Fay published Music y in Germany (1881), a widely read book on her experiences in Germany.

2 Walter R. Spalding, Music at Harvard, p. 228.

37 38

a mill, railroad,. and ship supply firm. He became vice-

president of the firm in 1909 and remained with the company until his retirement in 1936.

Carpenter was especially fond of Mozart, Beethoven,

Brahms, Debussy, and later Stravinsky,3 and his interest in

music soon led him to renew his studies. In 1906, he went

to Rome to study with Edward Elgar. After only a few months

with Elgar, he returned to America and from 1908-1912 studied

with Bernhard Ziehn, a teacher and writer on harmony and

theory of music. Carpenter felt that he derived more bene-

fit from Ziehn than from any other teacher. 4 Ziehn was "an

untiring investigator of polyphony in all of its phases, and.

particularly in that one which brought it into touch with original and unconventional harmonic combinations." 5

Carpenter was encouraged greatly by Frederick Stock,

conductor of the Chicago Symphony Orchestra. Songs were

his earliest compositions and constituted the largest part

of his output. The first works that caught the ear of the American people were the two books of songs, When Little

Bo Si and Improving Son for Anxious Children in 1903.

3Katherine L. Bakeless, r Lives of American Com- osers, p. 188. 4 David Ewen, Composers ofTTd, p. 39. 5 Felix Borowski, "John Alden Carpenter," The Musical quarterly, Vol. XVI, (Jan.-Oct., 1930), p. 451. 39

These were jointly composed by Carpenter and his first wife, Rue Winterbotham, whom he married in 1900.6

The first work to be given an important performance was the Sonata for Violin and Piano which was dedicated to Ziehn and performed first in 1912 by Mischa Elman. The Sonata is

"akin to Franck in the poetic atmosphere of the opening movement."

It is not the dynamic Carpenter of later works, but it shows that at that time he already had the rare gift of avoiding the obvious without being unnatural or seemingly studied. It stamps Carpenter as one who is not content to be an imitator. It shows him also as something of a romanticist. 8

This was the earliest work in which he essayed the design that had been the basis of the so-called "cyclic form," 9 in which the same thematic material is used throughout the composition.

Although some of his songs had previously attracted attention, it was after the first performance of this Sonata that Carpenter's fame really began to grow. The musicians and critics of America were looking for him to come forth with truly American compositions. The next great works of

6 Rue Winterbotham Carpenter drew the pictures and helped with the lyrics.. She died in 1931, and Carpenter later married Ellen Waller Borden.

7 Felix Borowski, "John Alden Ca enter ," The Musical quarterly, Vol. XVI-, (Jan.-Oct., 1930 ,P. 457.

8 John Tasker Howard, "John Alden Carpenter," Modern Music. (Nov., 1931,-June, 1932), p. 12.

9 Felix Borowski, ,. i.,Ac p. 457.

- 40

Carpenter were the song cycles, Gitanjali and Water Colors, to be discussed in the following chapter.1 0

In 1914, Carpenter turned to program music, and for orchestra wrote The Adventures in a Perambulator, a suite that depicts the emotions of ababy out for an airing.

Among his instrumental works, this, next to Skyscraters, is probably the most often played. Following the suite came one of his most popular works, the Concertino for Piano and

Orchestra, which received its premiere in 1916 by the Chicago

Symphony Orchestra with Percy Grainger as soloist.ll The idea of a "concertino" was novel, and led the way to the later Concertinos for Piano and Orchestra by Arthur Honegger

(1925), Edward B. Hill (1932), Jean Francaix (1934), and Walter Piston (1937). Carpenter's Concertino is one of the early experiments in using characteristically "made in

America" melodies (Dixie and Old Folks at Home) and synco- pated rhythms. 1 2 Carpenter calls the Concertino "a light- hearted conversation between the piano and orchestra--

1Allof Carpenter's works can be seen in chronological order in the Appendix.

l John Alden Carpenter: American Composer," The Ameri- can Society Le ion of Honor Magazine, Vol. XXiI, No. 3 TAtumn, 1951), p. 231. 12 Charles Ives used folk song melodies in his music and without doubt preceded Carpenter. Ives' career as a composer began a f ew years before Carpenter. Charles Bounds,, "The Study of the Solo Songs of Charles Ives," unpublished Master's thesis, School of Music, North Texas State College, 1951, passim. 41

mostly of rhythms, American, Oriental, and otherwise." 13 According to John Tasker Howard,

the Concertino marks a definite advance in Carpenter' s growth, it shows him with a firmer grip on his tools, a more certain touch in his handling of them. It demonstrates that he has exposed himself to all that has taken place around him and that he has the ability to absorb and to give back in his own fashion what he has taken in. There are shifting accents which betoken the Jazz rhythm of later works and a Spanish flavor present in his future writings, which the composer claimed to be entirely subconscious.1 4

As a whole,, the Concertino is one of the most important

contributions made by American composers to the literature of the piano and orchestra. 1 5

In 1917-1918 Carpenter, who had always been interested

in ballet,, wrote The Birthday of the Infanta, his first work

in this medium,. and it was produced by the Chicago Opera

Company in 1919. The ballet forms a connection between the

Carpenter of the Violin ata and the Concertino, and the

composer of the later works Krazy Kat and Skyscrapers. The

ballet has an "unemotional brilliancy and laconicism that is-

so prominent an attribute of the earlier Stravinsky."16 It

also has a touch of Spanish flavor. An orchestral suite

13uoted in Marion Bauer, Twentieth Century Music, p. 167. 1JohnTasker Howard, "John Alden Carpenter,""Modern Music (Nov., 1931 to June, 1932), p..14. 15Borowski, "John Alden Carpenter," The Musical Quarterly, Vol. XVI, (Jan., -dct., 1930), p. 458. 1 6 01in Downes, "John Alden Carpenter, American Craftsman," The Musical Quarterly, Vol. XVI (Jan.,-Oct., 1930), p. 446. 42

based on The Birthday _of he Infanta was performed by the Chicago Symphony Orchestra in 1920, and in 1951 a revision

was given by Rafael Kubelik, conductor of the Chicago Sym- phony Orchestra.

Jazz made its first appearance in Carpenter's music in Kat Krazy (1922) and he first used cacophony in S. scrapers (1926). Both works marked him immediately as

"one who consciously seeks out something alien to his own nature for the solution of specific problems." 1 8 Real

American ballet made a beginning with Krazy ,, a jazz composition that "can't be fox-trotted."1 9 The ballet,

based on the George Herriman cartoon character and performed:

in 1922, was an interesting experiment in transferring the jazz idiom to respectable company.

In spite of its desire to be democratic and commonplace, its composer kindles the harmonic twists and jazz rhythms with a skill that shows the deep-eyed musician and technician. Krazy Kat helped to develop a new style of "showing up" American life to ourselves with- out apologia,. an expressionism or realism which has developed in the last decade.2 0

Following the success of Krazy Kat,. Serge Diaghileff

asked Carpenter to write a ballet that would embody the

bustle and racket of American life, expressed in the terms

1 7 "Carpenter Among Notables Lost By Musics," Musical Courier, (May 15, 1951), p. 7. 1 8 John Tasker Howard, Our Contemporary Cmposers, p. 37. 19 A Jazz Ballet," Literary Digest, (April 15, 1922), p. 33.

20Marion Bauer, Twentieth Century Music, p. 167-8. 43

of the prevalent American musical vernacular. Skyscrapers

(1923.-1924), his most famous work, was the result. The

premiere was intended for Monte Carlo, but after negotiations

there fell through, had its first performance at the Metro-

politan Opera House in 1926. The work was enthusiastically received and found its place as a concert piece in the reper- toire of all the important American orchestras. 2 1 Olin Downes, in a review of Skyscrapers, says:

Skyscrapers is music of American inspiration and character. There are American motives in this work, but not in the manner of mere quotation, and always with humor, fancy, and fine craftsmanship. He has wrought with the pen of one of the most accomplished and sincere of modern musicians.2 2 The influence of jazz is potent in the score. Oscar Thompson,

who wrote about the ballet at the time of its first perfor- mance, was of the opinion that

Bkyscrap contained not literal jazz, but jazz as it has filtered through the mind of a musician who thinks in terms of art, and whose purpose was to write an art-work, not merely to add to America's store of popular music. 2 3 The most notable feature of Skyscrapers was the harmonic complexity 4 of its score.2 The musical technique of

2 _New York Times, April 27, 1951, 23:4. 2 2 New York Times, July 1, 1928, VIII, 5:1. 2 3 Felix Borowski, "John Alden Carpenter," Musical Quarterly, Vol. XVI (Jan.-Oct., 1930), p. 464. 24Ibid. 44

Skyscrapers shows strongly the influence of Stravinsky. 2 5

Carpenter uses a fine restraint, goes the limit only at

climactic moments and thereby saves for himself the effec-

tiveness of contrasts. He employed a means which to many

contemporary composers was either a lost or a shunned art--

the development of his material. 2 6 At the time of SYk-

scrapers, Carpenter was called "America's foremost composer" and was "praised for his musical courage and pioneering in using and championing the jazz element.127 At this point in his composing, Carpenter was at the acme of the new .found American realism.

Patterns (1932), for piano and orchestra,, following

Skyscrapers, shows that Carpenter passed from jazz to neo- romanticism, a trend that was evident to as great extent at this time28 (e.g., Walton, Belshazzar's Feast, 1931; Bax, Fourth Symphony, 1932; Gruenberg, Emperor Jones, 1933; Bax,,

Fifth Symhony, 1934). Some passages are distinctly senti- mental, and at other times the atmosphere alternates between a Spanish flavor and jazz.29 Carpenter appeared as piano

2 5 "Skyscrapers," Outlook, (March 3,, 1926), p. 315. 26J. T. Howard, "John Alden Carpenter,," Modern Music (Nov., 1931-June, 1932), p. 15.

27Quoted in Katherine L. Bakeless, Story Lives of American Composers, p. 193. 28 Marion Bauer,, Twentieth Century Music p. 168. 29 J. T. Howard, Our American , p. 369. 45

soloist in Patterns on November 19, 1932, with the Boston Symphony Orchestra.30

There are many other compositions by Carpenter--several of which are indeed worthy of mention. A Pi Vion, for orchestra, was written at the invitation of Leopold Stokowski,

and had its first hearing by the Philadelphia Orchestra on

a "Tercentenary Mayflower" program of the organization in

1920. _o~n ofFaith, his first choral work, was written for

the George Washington Bicentennial in 1932. Carpenter him-

self served as narrator in the work. 3 1

Mention of sow of Faith brings to mind the fact that Carpenter all his life was a firm believer in the value and importance of choral singing as one of the best ways for bringing the amateur to true musical under- standing and appreciation. Chicago's Choral and Instru- mental Association which did notable work during the war in weaving amateur music into the city's recreation program and was to a large extent his creation . *,32

Carpenter composed an opening Ode for the Chicago Exposition

in 1933, and his Quintet for Strings and Piano was commis-

sioned for the Library of Congress Festival in 1935 by the Elizabeth Sprague Coolidge Foundation.

0 3 New York Times, Nov. 13, 1932, IX, 6:1.

1 3 New Yrk Times, Jan. 11, 1933, 16:7. 3 2,1John Alden Carpenter: American Composer," The American Soiety Legion of Honor Maazine,. Vol. XXII, No. 3 (Autumn, 1951), p. 235. Despite his interest in choir music he wrote just two works exclusively for chorus, Cong of Faith and Son of Freedom.

-WM 46

Carpenter's Symphony No. 1 (1940), based on the principal

theme from an unnumbered symphony written in 1917, was com-

posed for the fiftieth anniversary of the Chicago Symphony.

His Symphony No.. 2 was performed in 1942 by the New York Phil-

harmonic Orchestra under Bruno Walter. Virgil Thomson in a

review for the Herald Tribune wrote that "the work is well

woven, contrapuntally alive, and has no empty spots in it."33

Carpenter said of this latest work, that "it is peaceful music, and in these days perhaps that is something." 3 4

Other orchestral pieces are: Sea Drift, inspired by the sea poems of Walt Whitman, which was written in 1933

and revised in 1944.: Of it Howard Hanson says: "it not only has descriptive powers but an emotional depth of which one

has not always been conscious. It is filled with dissonance

but does not sound dissonant." 3 5 The Seven Ages, which had its premiere in 1945 by the Philadelphia Symphony Orchestra

with Artur Rodzinski, is a programmatic composition based

on the celebrated lines spoken by Jaques in Shakespeare's

As Lou Like It (Act II, Scene vii, 139); and the Carmel

Concerto (1948) "has an oriental flavor and at times suggests

Quoted in J. T Howard, Our American Music, p. 371. 3 4 Quoted in "Peaceful Music," Time (Nov. 4,. p.,58. 1940),

3 5 Howard Hanson, "John Alden Carpenter," Saturday Revie of Literature, (Feb., 24, 1951), 34:50.

-WIN - 47

both Chinese and Indian music. It is modern in spirit and orchestration."3 6

Adding to his versatility is the very successful String

Quartet (1928), written in a modern, rather than classic

vein, the Piano quintet (1934), and his smaller piano pieces.

Carpenter received an honorary Master of Arts Degree in 1922 from Harvard University and received honorary Doctor of Music Degrees from the University of Wisconsin (1935) and from Northwestern University (1941). The French Legion of Honor was conferred upon him in 1924. In 1918, Carpenter was elected to the National Institute of Arts and Letters and in 1942 was elected to the American Academy of Arts and

Sciences. On May 22, 1947, Dr. Walter Damrosch presented

Carpenter with the Gold Medal,, awarded by the National Insti- tute of Arts and Letters, "in recognition of his distinguished services in the field of music." He was the fourth musician to receive the Gold Medal in the Institute's history--others being Charles Loeffler (1919), George Chadwick (1928), and Damrosch himself (1938).

Carpenter was very active in organizations, particularly after his retirement from business. He was President of the

Society for the Publication of American Music; President of Choral and Instrumental Association of Chicago, Illinois;

3 6 From a review by Hal Garrott in the Montey Peninsula Herald (California) and quoted in Marguerite Kelly Kyle, American Allegro," Pan Pipes, (Pec., 1950), p. 114. 48

Director of the Illinois Children's Home and Society; and incorporator of the Illinois Composer's %uild; and one of

the founders of the Ballet Theater Foundation,, Inc.

The National Arts Foundation presented the Award of

Merit to John Alden Carpenter on his seventy-fifth birthday

for "distinguished achievements in musical composition,"

With the death of Carpenter on April 27, 1951, American music lost one of its most lucid and humanistic spirits. CHAP TER IV

THE SONGS OF JOHN ALDEN CARPENTER

The year 1912 was a memorable year in American Song,

for it ushered in a new era in American song literature. 1

It was in this year that the world was given the first pub- lished songs, thirteen in number,, by John Alden Carpenter.

With Carpenter came a new voice in the art song, permeated

with French influence, but still decidedly individual and

with something to say, and with a great skill in saying it.

Within five years (1912-1916) appeared thirty-one songs.

"More than any other American song composer he seems to have sprung forth fully equipped." 2

From his business, the George B. Carpenter, Co.., a

mill, railroad, and ship supply firm, Carpenter derived his livelihood and thus relieved himself from making a business

of art. He composed what he wished, in the forms he wished,

and did not care whether or not the music was performed. He was under no necessity to compromise. Carpenter's greatest

enjoyment was to compose, and he himself said, "if I had my

1 William T. Upton, The Art n in America, p. 197. Charles Ives composed many songs before Carpenter but they were not brought before the public for many years, and possibly not until after this time. 2lbid. p. 198.

49

- - 50

life to live over, I wouldn't have two strong interests. A lifetime is not enough to devote to composing." 3 His

advice to young composers was "never give up, and do not expect to make any money out of it."4

By heritage and tradition, Carpenter might easily have been a conservative, if not a reactionary. However, he was not a reactionary, conservative or a revolutionary, but simply an honest artist who accepted the modern era and interpreted it according to his own feelings, and always remained just a few paces behind the extremist. He was not afraid of the new and startling, but he could not bring him- self to sensationalism just for the purpose of being origi- nal.5 Carpenter is in the group of Americans who do not attempt to develop original ideas or materials, but who take those which they already find in America and adapt them to 6 a European style. This may have been a weakness which held him back from reaching top-most heights. With his fine sensitivity, however, he has given us music that is his own-- genuine and unartificial.

quoted in "John Alden Carpenter, A Musical Humanist,' Musical America, (May 1951), p. 12.

4 Ibid. , p.. 12. 5 John Tasker Howard, "John Alden Carpenter," Modern Music, (Nov., 1931-June, 1932), p. 16. 6 Henry Cowell, American Cposers on American Music, p. 8. 51

Although he had been trained by John K. Paine and Bernard Ziehn, who were exponents of the Germanic post-

romantic tradition, Carpenter found his idiom early in his

creative career, and he was one of the first composers to whom the word "American" was applied without reservation of any kind. 7

Carpenter understood and employed every modern European trick of technic, tonality, harmony, counterpoint, melody, instrumentation, rhythm and form, and to this he indisputably adds that touch of individuality-a national consciousness.8

Carpenter is American principally because he has absorbed the influences to which he has subjected himself and has digested them so that they have become something which is unmistakably his.9 He has the American viewpoint and his music is truly a native expression. It is the manner of the use of the jazz patterns ( a K) and

Negro songs (Jazz-Boys) that make them genuine.

"His style is American, not because of any conscious -attempt to evolve a national style," says P. G. C. Philip Greeley Clapp7 of the Boston Transcript, but because his point of view is plainly that of a;person of strongly American ideals coupled with broadly cosmopolitan culture, and everything in which heexpresses himself receives a touch of this spirit."

7 New gfl Til, April 27, 1951, 23:4.

8 Marion Bauer, Twentieth Ce ry Music, p. 77. 9 J. T. Howard, "John Alden Carpenter," Modern Music, (Nov., 1931-June, 1932), p. 10. 1 0 Quoted in "A New Spirit in American Musical Composition," Current Opinion,, (January, 1913), p. 33.

_ _ 52

His being regarded as "the most American of our

writers" by the late Walter Damrosch, 1 1 is perhaps the result of his compositions about American people and

about their everyday lives--things that are so typically American (Skyscrapers and Adventures in a Perambulator).

He was also labeled "as American as Cape Cod" because he

was so versatile in his compositions (from the pilgrims in

The Pilbrim Vision to the caricature of the "Kat" from the

funny papers in Krzy Kat). 1 2 His music represents "the

very quality that Edward MacDowell was looking for in American music."13

When Carpenter first began to attract music lovers in

America, it was during the early part of the century when Claude Debussy (1862-1918) and Maurice Ravel (1875-1937)

were regarded as apostles of modernity. 1 4 There are those

who deny Carpenter his Americanism because of the French

derivation of his style, or because he feels so keenly, and

so subjectively, the moods of nature. 1 5 Carpenter was

1 1 New York Times, April 27, 1951, 23:4. 12 Katherine L. Bakeless, Story Lives of American Com- posers, p..-192.

13Ib id. , p"., 194.

14Felix Borowski, "John Alden Carpenter " Musical quarterly, Vol. XVI (Jan.Q-Oct., 1930), p. 45 ..

1 5 J. T. Howard, "John Alden Carpenter," Modern Music (Nov., 1931-June, 1932), p. 369. 53

distinctly influenced by French Impressionism, 16 and yet he exhibited an individuality, a culture, a refinement of technic and maturity of style. It is in his songs that he shows his leanings toward the French School of Impression*- ists, and his music sounds French until analyzed and one discovers that it sounds like Carpenter. On the other hand, according to Alma Gluck in an interview in the New York

Times, "Carpenter has the force and originality of Strauss, and the refinement and charm of Chausson., 1 7

Carpenter's songs have tints rather than solid colors, and show a strong kinship to Debussy. Many sections of the clever and refined songs mgh easily have been written by Debussy. The sound of the rain in Youn Man, Chieftain shows the impressionistic style (e.g., parallel fourths and fifths) and sounds like Debussy (Figure 1).

6 For the harmony used by the French Impressionists see A. Eaglefield Hull, Modern Harmony, pp. 114-130. 1 k0uoted in "A New Spirit in American Musical Com.- position,," Current inion, (anuary, 1913),, p. 33.

e. 54

Fig. l-Youn Man, Chieftain, mm. 23-24

The F major chord as a pedal with the parallel chords built on fourths in shen the Misty Shadows Glide shows a resemblance to Debussy' The Enulfed Cathedral. 1 8 (Figure 2)

18 0f. Debussy's setting of this same poem, En Sourdine, 55

t

10

}

r - t b

gy

v w. tina P~ w

. . , .. %owl -Ana %.A J3

rw.rwr

Fig. .2-When the Misty Shadows Glide, mm. 19-20.

In Le Ciel there is again the parallel motion and the fourth and fifth intervals, typical of Debussy (Figure 3).

*po

Fig. 3--Le Ciel, mm. 19-20 56

The importance of Carpenter to American music was at its highest point in the 1920's, when he was instrumental

in transferring the spirit and feeling of the jazz idiom to the concert rooms. "His compositions were enthusiastically

received, hotly discussed, and much performed, in Europe as

well as in America."1 9 Carpenter won a notable place among

American composers through his "fortunate, straightforward

and untrammeled. faculty of musical expression, prompted by

technical fluency and skill and marked by unusual charm and refinement." 2 0

Felix Borowski has stated that Carpenter is best known

through his vocal music.2 1 This statement would possibly

depend upon the field of music in which a person is primarily

interested. It is the belief of the writer that Carpenter

is better known by the Skyscrapers, particularly to those

who are not interested in music professionally. It is true,

however, that he labored industriously in the field of song,

and his harvest is rich and full, and he has done a great

deal to bring honor and respect to American song.

As far as can be ascertained, there have been approxi- mately seventy published songs by Carpenter. There are a

1 9 New York Times, April 27, 1951, 23:4. 2 0 .rove's Dictionary _of Music and Musicians, p. 154.

2 1 Felix Borowski, "John Alden Carpenter," Musical quarterly, Vol. XVI (Jan. -Oct., 1930), pi 455. 57

number of unpublished songs 2 2 at the home of Carpenter, of which only two were ever performed. 2 3 For this study, forty- one songs that are now available will be used as a general survey.

The majority of the songs are of the most admirable purity of style, are original, and have a sense of cohesion and unity. Not all the songs are on the highest plane of art (Treat Me Nice), but perhaps likewise in the works of greater masters there are songs that are commonplace and dull.

Carpenter was very fortunate in that he was able to com- pose close to nature and in beautiful surroundings, as his songs show (The Green River, Lookin Glass River). Most of his composing was done in Sarasota, Florida, or Carmel, California. 2 4

Carpenter wrote two song cycles, itan jali (Tagore), and Water Colors (Chinese Tone Poems), which are the most important and most popular songs by this composer, and are excellent in their settings. Written in 1913, "the Gitanja i impressed critics with their fresh approach and instinctive

22 In a letter from Mrs. John Alden Carpenter to this writer, Mrs. Carpenter stated that these eleven numbers are of no significance.

2 3 0ne is entitled 0 Soeur Divine. Information received by correspondence to this writer from Thomas Pierson who is writing a Doctoral Dissertation on "John Alden Carpenter" at the Eastman School of Music, Rochester, New York.

2 4 Information gained through conversation with Carlton Smith of the National Arts Foundation, who was a personal friend of Carpenter. 58

feeling for a tender loveliness."25 The songs are distinctive and original and contain all the characteristics of Carpenter's charm in writing. From the Gitanjali come the two most oft performed songs of Carpenter,, The Sleep that Flits on B

E and When I Brin You Colour'd Tos.26 The Water Colors are full of charm and delicacy, and suggest the Chinese lute in the accompaniment (On A Screen, see Figure 99). The sug- gestion of Orientalism is true Impressionism. 2 7 A version of the Water Colors was made for orchestra alone and was performed at a concert of the Allied Arts in Chicago. 2 8

There are many of the single songs that have the same beauty, charm, and originality that mark the Gitanjali and Water

Colors.

Carpenter was very eclectic in choosing subject matter for his songs. There are poems of love (Morning Fair; Go

Lovely Rte), nature (The Green River; Le Ci), youth (When

I Bring You Colour' d Toys; On The Seashore off Endless Worlds), war (Berceuse de Guerre), humor (Iff; Don't Ceare), and even what the poet himself called a "ditty" (CTheQock Shall Crow).

He also wrote Negro songs (Shake Your Brown Feet, Hney;

2 5 David Ewen, Composers off Today, p. 39.

2 Performed at North Texas State College, January 17, 1952, by Kirsten Flagstad, on one of her last concerts before retirement.

2 7 Marion Bauer, Twentieth Century Music, p. 167.

2 8 Borowski,, "John Alden Carpenter," Musical Quarterlv, Vol. XVI (Jan.-Oct., 1930), p. 456. 59

Jazz-Bos), an Indian song (Young , Chieftain), as well as a patriotic song (The HomeR_te). He even went so far

as to set music to two Dorsetshire poems (Don't Cere; Wull

Ye Come In Early Sprin),, and six French poems. (Dansons la due;Le iel;. En Sourdine; Berceuse de Guerre;, I_ pleure dans mon Coeur; Chanson d'Automne).

The works of twenty-seven poets appear in the forty-

one songs.2 9 Some of the better known poets are Robert Louis

Stevenson (The CQok Shall Grow), Lord Alfred Douglas (The

Green River), Paul Verlaine (Le iel), 3 0 Rabindranath Tagore

(Gitanjali cycle), W. B. Yeats (The Player Queen), Siegfried

Sassoon (Slumber ) Robert Herrick (Bid Me To Live),, and

Oscar Wilde (Les Silhouettes). Carpenter himself wrote the

words to several of his songs (The Home Road). He set to

music more poetry of Tagore and Verlaine than of any other poets.

Carpenter showed considerable taste in choosing the

poems for his songs, for they are of sheer beauty, have a

great depth of meaning and feeling, and are so apt for set-

ting to music. He was particularly interested in poetry

that contained unusual words of singable quality, such as

2 9 List of poets is shown in Appendix.

3 0 Debussy also set to music several of Verlaine's poems, the collection in Ariettes oubliges and Fetes galantes, as did Faure, La Bonne Chanson. 60

"For, where you dream, the stately gloom of foliage shall embower" in Slumber (Figure 4).

- -w-O- W--

Fig. 4--Slumber Sons, mm. 33-36

The same feature can be noted in the phrase "Large on the low hill and the spangled lawn the pureleaved air dwells.

passionless as glass" in Mornin, Fair (Figure 5). 61

1t ' r - tai. ,....m ,.,,. v-w~h

r Yt

Ike CLI L

,{ t3 v10W,W

-- i t/ i lkIL wr

I -

Fig. 5-xMornin Fair, mm. 38-46

There is no song writer of the twentieth century more expert at fitting the tone to the word as Carpenter, or at setting definite moods in the songs. 3 ' Here lies much of his strength as a composer of songs. In The Green River

3 1 William T. Upton, The Art Son in America, p. 201. 62

can be seen the chromatic harmonies at the suggestion of the "winding path" (Figure 6),

1 t

. wo t s c r b n 0c

V 7''

1

Fig. 6TGreen ir, mm. 7-10 the glints of melody, the harp-like figures suggestive of the unheard music, and the expressive recitative, and then fading out with vague harmonies (Figure 7).

. .o

010 0 #1 -- crkecii (Ja,

7mfm LOo 63

------P13W&L - 5 -n \on0 -

INN Z wo

1

I'

f

"

w

4iu fwMrw

w U -l r st . " __

C)l

10 or to -.

man !Lr

I C rr

w +ww

... .

Fig. 7--The Green River, mm. 14-27

Then comes the longing of "Oh, may I awake from this uneasy

night" where the figuration of the accompaniment and the

intervals of the vocal phrase combine to emphasize the right mood (Figure 8). 64

it, A

Fi. -Th .en ier '.34y

Fig-. 8The Green River, mm y34l-37

The quintessence of Carpenter's genius is found in The Green River. Arthur Farwell in Musical America characterizes the song as follows:

Mood and texture,, not tune, are the aim. . . Modernity animates the song but it has authentic originality and timeliness. Each successive thought is crystal clear 65

and expressed with a simplicity and lucidity which are among the composer's happiest characteristics.32

In Les Silhouettes can be seen the preciseness with

which he combines the words and music (Figure 9).

F 9CL$ lhA - N.

- a1

Fig. 9-w-Les Silhouettes, mm. 25-29

3 2 Quoted in "A New Spirit in American Musical Com- position," Current Opinion, (January, 1913), p. 33. 66

Grace notes are utilized in When I Bring You Colour'd Toys

from G1 a li to gain the feeling of dancing at the words

"when I sing to make you dance"' (Figure 10).

Th~

I

Fig. O-When I Bring You Colour'd oys, mm. 34-35

In the accompaniment to the phrase "Lord of the small rain" in Young Man, Chieftain can be heard the tinkle of rain

(see Figure 1), whereas in the prayer for courage can be heard majestic chords with the continual beat of the "tome- tom" through-out (Figure 11). 67

Fig. ll-Youni Man, e n, rm. 46-49

A descending scale combined with second intervals played in the treble clef give the effect of "night coming softly down the sky" (Figure 12).

A 11. .r1 I

pop, -4 LOOPOW

M" At 'lift PFF

i Y

ROW r -1 n

Amok

Fig. l2.h_ e Pools of Peace, mm. 26-29 68

The mood of death is set in On the day when death will knock

at t.hy door from Gitanjali by the use of tonic minor chords

before the voice begins (Figure 13)..

rave n dcdoso 1~k t, i i 1 Ab I

__ i l :

hK~ T~

__{__ ON _ _ WAN ON

ON ow wo I -I . -- .1 j g- & I --l I I A I I II L-3 dic bb A I - -, 0 Aft vNUM i I Aw y tr

Fig. l3-_On the _ deah will knock at yoor mm. 1-4.

Arpeggios are employed for the effects of rippling water

and the lightheartedness of children playing on the sea-

shore in On the Seashore off Endless Worlds from m ,14 (Figure 14). 69

?o sccO

i

~ 'rke.~ - nA wo~4r~

-IF__I_

( ______

Fig. 14-"On the SeashoreOff Endless Worlds, mm. 5-7

Carpenter also seemed to take delight in choosing poetry with alliteration, which he superbly sets to music. It is interesting to see that the words "from bush, or bough, or bed," in Rest are given the same rhythmic values as would 70

be given if one were speaking the words, a notable feature

in Carpenter's songs (Figure 15).

ZT7 ig --Ww- ear

AORWAL

At-

AARE i

how- I I

Fig. 15--Rest, mm.- 29-31

The fast scale-like passage in the accompaniment to "the

ripples are rampant in the river" in The DaIs NoMore

gives the effect of the rippling of the water (Figure 16).

u S ;b_

- - eW rs

""pt ,r b ~ 71

10"m ... n , K______APR-iT

______o2

1 T -r I

Fig. 16--The Da No More, mm. 51-54

A very singable phrase is used well by the choice of triplets in The Heart's Country (Figure 17).

.r...

tic ok i~ fp %~

M-MI

Fig. 17T The Heart' s Country, mm. 7-8 72

Also, there is alliteration in Carpenter's first Negro song, Treat Me Nice (Figure 18).

Fig. l8-Treat Me Nice, mm. 26-27

Carpenter's songs are intended for trained voices, the majority of them for the deeper voices. This is apparent from the fact that thirty-five of the songs are expressly

"for medium voice." He uses a wide melodic range for the songs, always comprising at least an eleventh (c' - f") with a medium tessitura throughout. In twenty-one of these songs, the range extends down as low as g#, which immedi- ately limits these songs to the lower voices, and frequently extends upward to g"', widening the range to two octaves. Only four are published alternatively for either the medium or the high key, but the range remains the same as those written for medium voice, with the exception of Serenade. 73

This composition extends up to an al with an optional C"',

the only Carpenter song in which there is an a" or above.

Two songs entitled "high voice" have the same range as the medium songs, but the tessitura is higher. Perhaps the wide range is one reason why the Carpenter songs are not often performed.

The basic style of Carpenter's songs is that of the accompanied vocal solo. Even when the accompaniment is

contrapuntally complex (The Pl queen) the vocal line

is distinct and does not weave in and out among the accom- panying parts as is sometimes the case, for example, in

Strauss (Moren). His melodic invention is facile and his themes have fluency and grace and contain long melodious phrases, a characteristic throughout his career as a song writer (Figures 19 and 20).

- I~ ~ ~ 6Jeetyc

I i11M1 1 ' ~ 74

______I-CC

- po

ens t0 ;.be

Fig. 19.-Go, Lovely Rose, mm. 15-20

EM APA

ANAGNOW Raw NNW, ...... 'Ott 75

5,c rd The b b)~

U-0

Fig. 20.%-Les Silhouettes, mm. 20-.24

An exception to the rule of long phrases can be noted in the war lullaby, Brceuse Guerre (Figure 21).

CL~~ ~L

IL a JIMA

7--

v Am- 16

Fig. 21-Berceuse de Guerre, mm. 24-.26 76

The flowIng qualities are lost to the block style in the

accompaniment and melody in the Dorsetshire songs (Figure 22), owing to the nature of the text.

-A AN d at~ A4rP.I '

~Iv T

tij

.-o I 4u 0

Fig. 2--Don' t Ca re, mm. 6-w9

Carpenter's songs are through composed, achieving dramatic effects only at the climax, and making the best possible use of the climax (Figure 23). 77

br+ e ted an . wJ da e

,14c 4

S i 7~Aee

Fig. 23--Bid Me To ive, mm. 22-25

The only number that Carpenter composed that is dramatic throughout is Liht, yLit. 78

It is no song in the true sense of the word, but a flaming forth of elemental ecstasy and was written for no mortal voice. It is full of long-drawn trumpet-like phrases.33 CFigure 24J

edo naca.

w L

t " low pr R

Y 4

*we. ,. I '"" w air. sq ... , _

s

" . s r ,4 ir or .. rte y~,", .,f ,.. .,,,..A. Ilrrwiw 4r+ '

ICY

Fig. 24-Light, igt, mm. 1-8

Octave skips in the melody line are characteristic of

Carpenter, as in !ookinglassRiver, Go, Lovely Rose, as: well as To One Unknown (Figure 25).

33William T. Upton, The Art S in America p. 211. 79

to 4 tW tv, Tt.'%

Ad go

Ar .000,

tit

the aw- 14&k'Ldl T F

Fig. 25-.-To One Unnon, mm. 2T-28

Slumber S~oRnshows the octave jump in the reverse direction (Figure 26).

_ _ - __ Now*

MAWto

Fig. 26-Slumber 5nn, mm. 67'68 80

Skips larger than an octave are rarely used, but there is a skip of an eleventh at the close of Wull Ye Come In

El Spring (Figure 27).

L. i1; Ct tem -EC-

IJ fimao IT_ _ _

Y e .v C. *t

____ Yi

Fig. 27'.-Wul l Ye Come in Early Sprin,,: mm. 76-77

Carpenter rarely used sevenths in the melodic line, but if employed,, they are usually a characteristic mark of the song, and are used often in that song (Figures 28 and 29). 81

:f 7-M

041wM-I -Ot ~ r IM 3 -

T~e &

Fig. 28-Rest,, mm. 4-8 82

9'~ Ire__i d

mompowmpmwmmm AV- lie WF

tc. w

IN 1 -moompmm-- lop 1 NO INm

I

ow,

"T dim a Spa

1

Fig. 29--Worlds, mm. 33-36

Another characteristic in the melodic line is the use

of syncopation. In To One Unknown, Carpenter has utilize& this technic in order to place the correct words "wind "

"waves, and "'joice" on the strong accents within the measure (Figure 30).

"

40 ow in N-W 1

"now

"'..

op I

W rp- rdo rrrrrr loop= 'rrrr *Now"" MW, -Oftwom

I 1

I A - « ,a.r..r- OLA

Fig. 3 0sToo One Unknown, mm. 17-.20 83

The same feature can be noted in order to place the strong word "live" on the strong accent in Bid Me To Live (Figure 31).

n es U

me to 13)

wfLU I A1 Jr~ i I ii

rw Ad

fto.leFT06mJ"' T76c

i

Fig. 31--Bid Me To Live mm. 3-6 84

Within the melodic line there is frequently chromaticism

as in Le , The Green River, and, as shown in Figure 32, The Pools Peace.

0- n. mar AF -mOOWMM r .111 AL- -2 \ I

_ e. 77iX.L

Fig. 32--The Pools of Peace, mm. 18-21

This use of chromaticism is excellent to help portray the words "and, in his pocket,. near his heart" to show that the pocket and heart are close together in use de

Guerre (Figure 33) . 85

Fig. 33--Berceuse cde Guerre, mm. 30-31

It is interesting to note the use of the whole-tone progressions in these compositions. The first song in which

Carpenter utilized this technique, The Green River, was written in 1909 "before Carpenter had heard one note of

Debussy' s music."34 The close of The Green River is

exquisite with its bit of whole-tone color,; leading into "or else delight, that is as wide-eyed as a marigold"

(Figure 34).

J. T. Howard, Ou..r mnteMorary Composers, p. 36. It may seem odd that Carpenter as as music student had not heard any of Debussy's music in his first twenty-three years. How- ever, this was in 1909 when Debussy' s music was not so famil- iar, especially on this side of the Atlantic. There seems to be no evidence of Carpente3s acquaintance at that date with other music (Moussorgeky or other nineteenth century Russian composers) which contain whole-tone passages, and he apparently derived this scale for himself. 86

77Q levpoI de-s s UPON I

Np

-00

I

.rw.r ,

q

q

Fig. 34-.The Green River, mm.. 47-54

A pentatonic progression can be seen in the middle section

of Go, Lo y Rose (Figure 35),. which resembles The _i_ with the Flaxen Hair by Debussy (Figure 36). 87

/1140 N OS

f~~~~I etSattx

Ar g

Fig.. 35-o, LoveIRy ose, mm. 42-46 88

""_

_

105 12-PLAIN

Fig. 36--The Girl with the Flaxen Hai r, mm. 24-26

In general,, the songs are written in a moderate tempo

throughout the composition. This creates a feeling of

tranquility,, pensiveness, simplicity, and peacefulness.

Nevertheless, Carpenter did compose three songs with lively

tempos (Worlds, Don't Cere, The Cook Shall Crow) using the.

musical terms Animato (" =126 and 176) and Animato Giocoso (1 184).

Another feature in Carpenter's songs is that there are

infrequent changes in the time signatures.. Twenty-six; of

the songs have no changes whatsoever, while fourteen include

one or two time changes throughout the composition.. In just one song has he gone to the extreme in using a time change in almost every measure (Figure 37). 89

-_ A /

- A - (A

T T T T

sw.r ap . . w . ., .S ...... s . s . . w r ... +t .. . a r ... ,. r ... ww. rr IA u

x~1W W W 4 lo

Fig. 37--Young Man, Chieftain!, mm., 30-36

There seems to be no apparent reason for these frequent changes unless he felt that the rhythmic accents more nearly approached the dances of the Indians. 90

Carpenter is conservative in his use of the conventional metric schemes of the compositions. He wrote more frequently in duple simple meter of 2/4 and quadruple simple meter of 4/4, triple simple meter of 3/4 and 3/2, and duple compound meter of 6/8.

Rhythm is very prominent and is one of the most impor- tant factors in Carpenter's songs. The most characteristic mark is the recurrent rhythmic patterns throughout a com- position, as in Les Silhouettes. The germ of the whole work,, as far as the accompanimental background is concerned, is seen at once: a motif of three chords in dotted rhythm-- two longer chords separated by the shorter--which dominates the entire song (Figure 38).

LI AI

P%37 I _ -W 91

T.

-AL3

Fig. 38-Les Silhouettes, mm. 1u-5

Le Clel is an exceptionally perfect bit of atmospheric writing, with its antiphonal effects and suggestions of bell

tones managed with rare skill (see Figure 3, p. 55). For these antiphonal effects, Carpenter not only used the rhythmic pattern continuously, but repeated the exact notes of the bass an octave higher (Figure 39).

-- l- 92

i iii r""tr + r p 1_ - y

71 ______CIIue .. 1 S

______T F / ~

% I

Fig. 39-Le Ciel, mm. 1-4

A marked characteristic of Carpenter's songs is the

constant and steady drone of eighth notes or quarter notes in the accompaniment throughout a composition. Rest exemplifies the constancy of the quarter notes, transfer- ring the figure back and forth from the treble to the bass (see Figure 28, p. 81).

Two predominant rhythmic patterns are seen in The Day

Is o . In the opening eighteen measures there are three quarter notes followed by a dotted half, which is the accompaniment basis for the song (Figure 40), 93

Fig. 4O-.The Qay Is No More, mm. 1-4 while the middle section of~ the sons introduces a new rhythmic pattern, that of dotted notes followed by a half note (Figure 41).

t NO N--- wmw

The -- ,

------%NOW

i

"

I I : r! , I

Fig. 41-The Day Is No More, mm. 22-25 94

Throughout the entire bass part of The Player queen

there is the recurrent rhythmic pattern of an eighth note followed by two sixteenths (Figure 42).

-lit NNW

s

0

x

do 10 LLALA

I

arMw

rte"

«rw.rw *g srwlu w...w .. ., .r,...... rr .,.... ,,.. i.s a... r «....e

h AN"

I I

, ueen, mm. 1-2 Fig. 42-The y

The play back and forth between two rhythmic patterns

can be seen in Bereeuse de Guerre. Carpenter has employed half notes in the rocking pattern for the phrase "Sleep, baby, sleep" (Figure 43),

- 4,ci AS&~

Fig. -3Becuse e Guierre, mm. 1 95

and uses rapid sixteenth notes to give the feeling of unrest

as the poem speaks of the soldier at war (Figure 44).

Alow& '1l

.a.-

Fig. 4 4--Berceuse de Guerre, mm. 27-'29

Syncopation is another strong characteristic in the rhythm of Carpenter' s songs. In Slumber $on;,, syncopation

first occurs in measure thirty'-three and is carried through* out the following twenty-eight measures, either in full chords or by one voice, and then is dropped for an even normal rhythm. (See Figure 4, p. 60). However, the synco- pation is brought back into the last four measures of the song (Figure 45). This repetition of the strong rhythmic pattern at the conclusion is another characteristic of Carpenter's songs. 96

Ad

-- e-

aa.r .... ,,

Fig. 45-$umber Son, mm. 68-71

Hhy en from Water Colors also reveals the typically

syncopated rhythm of Carpenter (Figure 46), and here again

the rhythmic pattern returns at the conclusion (Figure 47). 97

-Ij Adk 71-

199 6- - -

lie

-Ahl

low milli AOL- ANEW

1 : i i MOW LI 'r

Fig. 4 6--Hmghwaymen, mm. 6-8 98

Lco olllliiiiilllll

U 0&

UTJ

Fig. 47-.waymen, mm. 22-24

Carpenter was prone to insert fragments of irregular rhythmic patterns into songs dominated by normal rhythm.

In The Heart's Countr, the song begins with, and is 99

dominated by, even rhythm (Figure 48) and later a fragment of irregular rhythm is inserted (Figure 49).

T l A - - le AJ6,

> .000 4000

L

11_ A Soft I I I %.P

Fig 48 The Heart's Country, mm. 14

The b ba ,

ijisF i W ml

10A

r-.e ..,n, ,.. r73

4 Fig. 9-he Heart's Country, mm.. 19 2O 100

In the Negro songs,, Carpenter used the rhythmic style

of the Negroes, that of syncopation or jazz. He began

experimenting with Negro music as early as 1905 when he

wrote Treat Me Nice, which was considered a- failure.3 5 The song contains a more refined syncopation (Figure 50), and

is not the brilliant Carpenter of later years as seen in

Jazz -Boys and Shake Brown Feet, Honey.

IF-

4 Ld ______

Fig. 5O-rat Me w, , mm. 1-3

The Lawd Is li' thro the , the second Negro

song, written in 1917, is a.highly effective example of

Negro characteristics in the voice part with Carpenterian

treatment of the accompaniment (syncopation and harp-like figures) as seen in Figure 51.

3 5 O1in Downes,, "John Alden Carpenter, American Crafts- man," Musical Quartery (Jan.-Qct., 1930), p. 456. 101

S1 L ----- ors)Ip

1~m ~.No Now

Fig. 51-The Lawd Is Smilin' thro he Do, mm. 5-8

In the four Negro songs (1926), set to poems by Langston

Hughes, Carpenter utilizes the jazz rhythms with artistic

effects. Carpenter,. however, does not call the rhythm that

of jazz but of "contemporary popular music,'" and says

it is by far the most spontaneous, the most personal, the most characteristic, and by virtue of these quali- ties, the most importsgt musical expression that America has achieved.3

He felt that learned musicians who understand how to write music in the larger forms,, cannot write real jazz tunes, because "their thoughts are not rowdy enough." 3 7 The first of these Negro songs is by far the most difficult

36 John Alden Carpenter, "Where Is Jazz Leading America?," Etude, (August, 1924), p. 518.

3 7 Katherine L. Bakeless, Lives of American per, p. 193. 102

rhythmically of the forty-one songs, for co-ordinating the voice line with the accompaniment (Figure 52).

'hake. lour btusm, fret S PE'O) 7V1 bra t ,Cle.,

I

At laME C

(l 1

r + r

1%

Fig. 52--Shake Your Brown Feet,, Honey, mm. 3-4

In Jazz-Bos, Carpenter has made simultaneous use of two syncopation patterns, by first introducing this rhythm in the accompaniment and then bringing in the syncopation in the melodic line (Figure 53). 103

IA _

t MiisIIL i LII --.t I4- 4

Fig. 53-Jazz-Bos, mm. 5-6

Another prominent characteristic in the songs was in the

way Carpenter created syncopation through the use of tied

notes (Figures 54 and 55).

tM.. s * r

AM AiI--

~______

Fig. 54**--The Lawd Is Smilin thro' the Dot mm. 53-56 104

+ . " ~ Was, bo rw W tar r .

1.0 ilk Ad

4k a al e/f 044

&0' Ida

moo

Fig. 55--The Player kueen, mm.. 29-30

There is also the recurrent rhythmic pattern of the tied notes for syncopation in Slumber Sonp (Figure 56)..

o0c

,,.1 , , ' "" ' ' ,fir '

-wow GUN= MOM 4"W -mom

" wr aww.

Alt Rim

-Ai- AL }

"Wow

iM

Fig. 56--Slumber Son, mm. 19-22. 105

Carpenter was very adept at creating cross accents

between the voice and the accompaniment. He added to the humor of the simple and short song If by this technique (Figure 57).

1 inCre ri an f ft rS PW S t

Fig* 57-f, mm. 8-10

In the Dorsetshire dialect song, Don't Geare, the voice

part runs on in characteristically monotonous monologue

fashion, creating a rhythm of two against three, where the

accents in the melody and the accompaniment fail to coincide (see Figure 22, p. 76).

Carpenter's versatility also led him to compose songs whose rhythms had their origin in Spain. 38 In Serenade there is the flavor of the Spanish music (Figure 58), and

8 3 Felix Borowski,, " John Alden Carpenter," Musical Quarterly, Vol. XVI (Jan.-Oct., 1930), p. 454. 106

a similarity to the music of Isaac Albeniz (1860-1909), the Spanish composer-pianist (Figures 59 and 60).

aib Ifed%

II flb 4

Fig. 58-Serenade, mm.. 1-4

17 -M A

______4 7lone4 . ______

Fig. 59--Serenade, mm. 47T49 107

_ _ _- se__St eNse"ac ~c) W~~11 sa e

_ _ __ _.'w I t" s , b I p.

I- -- I so I I - -- , - -Rvvb w W-M,W- Lawwom L-

Fig. 60--El Puerto from the Iberia Suite, Albeniz, mm. 53-55.

The Spanish music of the DanQe Rituelle du Feu by Manuel de Falla (1876-1946) can be detected also in Serenade (Figures 61 and 62).

es p r- a.. S. . * - -- - - . .

P 7

RIO*

* 108

Fig. 61--Serenade, mm. 62-67

7__

77

Fig. 62-.-Danse Rituelle du Feu, de Falla, mm. 75 81 109

Carpenter used triplets to a great extent, but in most instances there seems to be no textual reason for their usage. The essence of the rhythm in Treat M e Nise that of even chords throughout the first verse"--at which time he inserted triplets in the intervening interlude (Figure 63).

a iQe"po 00*1 N Ads or- PF IMF

I'M I

Fig. 63--Treat Me Nice, mm. 12'13

The whole rhythmic scheme of Ma, the Maiden is even eighth notes, but here,, too, are found sudden triplets (Figure 64). 110

- shde - enn n -

-A -A

I CI "7 7r

Fig. 64--Ma, he Maiden, m. 17-20

In Dansone a e, the triplets are used after twentymtwo measures of a fast waltz with concurrent after-beats in the accompaniment (Figure 65). «Ll

'I h

IMe "______

JO

9

i

A

4'IF -ab--. wzMMOM" nZS 1 I i I i

Fig. 65.-Dansons la fie, mm. 23-26

The contrast between the duplets and triplets in The Heart'w

Country is an interesting feature. In order to set the words to the best advantage, Carpenter utilized eighth note

triplets in the melody, but in the accompaniment he con-

tinues the even quarter note or two eighths, creating the

feeling of two against three. Only at the conclusion of the song does he bring the triplets into the accompaniment, where, as is characteristic of Carpenter, he brings back the outstanding melody at the conclusion (Figure 66). 112

a Ali po3.. -jmm

Fig. 66-'-The Heart' counry mm. 28-30

In only one of the songs are there triplets throughout the accompaniment as a characteristic mark of the composition (Figure 67).

3

: 113

Fig. 67--Go, Lovely Rose, mm. 1-5

The gradual breakdown of tonality in the songs through

the years of Carpenter' s. progress is illuminating. Carpenter's songs are written mainly in major keys, most often D Major.

The first five songs are very tonal and remain in one key, with the exception of Go,, L Rose, which has a modulation well established. Beginning with the sixth song,. The Green

River (1909), a certain tonal vagueness already begins The key feeling of B Major is not felt until the final chord of the first section--a tonic chord with an added sixth (Figures

68-69). This is followed by a bridge of chromatic chords in order to reach the key of C Major (Figure 70). 114

- . -- - 1. I a . 1 -. 1 11= = mii nt m im iins q i -1 -t - .t. . V - - - 1 - t .- n -. - - 1 - - - - - m--ac---

'VIEW4

P 71

E~i :w- U t W.%or I

Fig. 68--'The Green River, mm. l-4

{

ja I on

Fig. 69-The Green River, m. 27 115

Fig. 70--The Green River, mm. 29-33

In order to return to the original key,, Carpenter has dis- carded the accompaniment and has used the whole-tone scale

(see Figure 34, p. 86) to lead into the remaining six measures, and ending with the tonic major chord.

The Green River contains practically all of the char- acteristic marks of tonality used in the remainder of his songs, with the exception of Dansons la iue, A Cradle

n, Don't Cea're, The me Road, The Lawd Is Smilin' thro' the , and If,, which are classed in the category of his first five songs.. And, as Carpenter's proficiency in 116

composing advanced, the more distant from key feeling his songs become.

Even though Carpenter has made use of key signatures, many of the songs begin with no key feeling whatsoever.

Le C ,, with a key signature of B Major, begins as if in

E Major (see Figure 39, p.. 92), and the key feeling is not

assuredly felt until the final tonic chord. The tonality

of D Major in The p That Flits on Baby's Eyes from

Gitanjali is not felt until the first chord of the fifth measure (Figure 71).-

Le&if L

POE6 W

r~t 117

;pi It

49I

[ I-

Fig. 71--T. Sl e T a Flits o~n Ba &E~es., mm. 1-*5

It is interesting to note the tonality in eceuse de Gee

(1918). The opening measures of the phrase "sleep, baby,

sleep" are written in pure D minor (see Figure 43, p. 94), which then changes into the key of Bb minor (Figure 72).

However,, owing to the abundance of altered chords the

tonality is vague until the end of the section, 118

_L 141 4

-'I I

8 _0__

-K.0-w- I- W- Wr w W, 14%smw-7 Irv

w - W -~' ~ 7-~ W -- W ~ W v g 4

Fig. 72--Berceuse d euerre, mm. lO-l2

The tonality then falls back into the D minor, by use of accidentals, for a repetition of "sleep, baby, sleep," followed by another section in Bb minor. Again the tonality is not certain until the conclusion of the section-where it is felt in the melody line in Bb minor although the accompaniment has the feeling of Gb Major (Figure 73).

IN 119

r aar.. If f f

~ r " w' - I..

T ~~47

Fig. 73--Berceuse de Guerre, mm. 33-35

Carpenter wrote two songs with no given key signatures, Young Man, Chieftain (published in 1930) and Rest (published

in 1936). Both of the compositions contain a multitude of altered chords, resulting in a constant transfer from one key to another (Figures 74 and 75).

96LA

rF4;0[ E., J M

I rr { 41L. 7M R

Fig. 74--Young Man, Chieftain, mm. 58-60 3120

~ td

* "

17I

;11 3 " . . ~t a

AP"*rI ONE- M 1 Are

y 1

Fig. 75--Rest, mm. 130-13

The characteristic mark of Carpenter' s modulations is

the frequent use of chromaticism. The chromatic modulation

can be seen in Green River (see Figure 70, p. 115), in

the bridge from Db Major to A Major in G, Lovely Rose

(Figure 76), and also in Bid Me To Live (Figure 77). 121

tt

I

I r

{I

-L--]

I

.C veal.

t I I \'%) ,4:-

Fig. 76-,-c*o, Lovey Rose, mm. 37-41 122

i pawl

'X- B -mop fm No ME rn--j-TE=

&AJ will give, Gov +K+ hta, rp Thee..

AOW%

-Now 107 low

-AM W=

Ito all11 1 -Apr- -UMO

Fig. 77--Bid Me To , mm. 8-10

In the chromatic modulations, Carpenter frequently make use of enharmonic notes, as in To One Unknown and The

Player Qeen (Figures 78 and 79). 123

li I : v~

w.f ALJ:-A

Pil m- d= - -w

I Cs ~ $Jott-t/

Fig. 78-To One Unknown, mm. 31-35 4

TA Nil v VV

++rr+ ea.r c,. crown $

APF

Irv JL_

IV I'dl

O

I.A

Aol

wt

t.

d0l

All AML

ado*

Ilia'

I I

Fig. 79-The Player queen, mm. 3033

Very characteristic of Carpenter, too, was the use of octaves proceeding by semitones (Figures 80 and 80a). 125

v r

rF 1 k e R

r

A

lump AV AM- CIO ILL It WF OF

._JL. 6wwnbwwwwwwp- xr D.LLU

Fig. 8O--To One Unknown, mm. 37-38

-110%L AL 1,

I "

dopdb 00

dP,% 40

. R

I IL

VA a- w WAW

Fig. 8Oa-.To One Unknown, mm. 48.49

There are many factors in the use of harmony that are characteristic of Carpenter. Probably the most noticeable 126

is the chordal accompaniment throughout by block straight chords (Figure 81);

0~\. "

on q*

f

Fig. 81-i am like a Remnant of a Cloud offautumn, mm. 5-8. by the use of harp-like chords (Figure 82);

______p '

Fig. 82S--erenade, mm. 18-2O 127

the use of tied notes with moving harmony (Figure 83);

0&

(j pa W

Fig. 83-Cradle Son, mm. 1-4

extreme use of pedalpoint (Figure 84);

-pli up- .

-Y mm

Fig. 84--*,Wull Ye Come in E4rl .pin, m. 44 128

and with slightly ornamented pedalpoint (Figure 85).

A-I

-it 'i ~

1 t 1 ! C U 1 - IL 1-r - AL~~

xpoo

Ma

I

r "I tw4w -- i

Fig. 85-WhenI Brin You 1ur'd T.yA, mm.. 10-12

To a great extent in the accompaniments he used disjunct arpeg-.

gios (see Figure 67, p. 113), open arpeggios (see Figure 39, p. 92), and sweeping far-flung arpeggios (Figure 86).

4 L7

A-A d At

oo 00

I

I& 11,40111V --T

.v

" _... 'I 7w- Fig. 86.--Bid Me To Live, mm. 18-19 129

The final measures, as well as the final chords, contain

other definite characteristics in the songs. Carpenter very

often closes the vocal line with a breath-taking finisha- giving a feeling of unrest--an effect heightened by the use

of deceptive cadences. In To One Unknown Carpenter closes

the vocal line with the fourth note of the tonic B minor key, instead of moving down to a "B" to close on a B minor

chord, or moving up chromatically to a "D#" to end on the

B Major chord., Carpenter had reasons for his use of decep- tive cadences and dissonances, based on the text. In this instance he used the interval of fourth to give the feeling of loneliness and frustration that fits the words "spoken with images, never with you" (Figure 8?).

ie -

Fig. 87-To Qn. Unknown, mm. 52-54 130

Seventh chords in succession are used for the deceptive cadences in Worlds to give the feeling of vastness for the words "and wide, and wide as a ship can sail" (Figure 88).

~4~r4%

A W;A'I

_IRV I I

Fig. 88Worlds, mm.., 12-w16

Carpenter often closes the songs with & rhythmic and harmonic pattern of the vocal line which is consist- ently maintained throughout in the piano accompaniment

(Figure 89).. 131

M

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I A _ _ _ __I1111

di _

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Fig. 89-Cradle ong, mm. 47-53

Carpenter often uses- characteristic rhythmic and harmonic figures of the accompaniment in the closing section (Figure 90). 132

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f v I ~ I

Fig. 9O'--The Da Is No More, mm. 79-82

The songs written in major keys invariably end on the major tonic, as one would expect. In several instances

Carpenter has employed suspensions--using the 94 suspension

(Figure 91) and the 4-3 suspension (Figure 92).

1~Er

I 1i P-4 - -5 ------i---- A ------, --- 41

Fig. 91--The $l a That Flits on Baby's F es~~mm. 474 133

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Fig. 92wWorlds, mm. 47-49

Carpenter was also fond of adding a sixth to a chord, including the final chord of Highwaymen (Figure 93).

rte'" s " n

0 1

Fig. 93--Highwaymen, in. 24 134

In the ten songs written in minor, there are just two

that end on the minor tonic chord.. The others end with

the picardy third (raised third), or the relative major

key. In TheHeart's Count, the final chord shows the

combination of the picardy third and the 4-3 suspension (Figure 94).

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1mmms~ I <

Fig. 94--Theeart's Country, mm. 31-32

Carpenter frequently made use of tone clusters as seen at the close of Jazz-Boys--a C Major chord with a raised fifth and raised fourth and a lowered seventh (Figure 95). 135

~pp

Fig. 95-Jaz-Boys, mm. 45-46 n Le~AL- y As has been previouslyftmow remarked, dissonances and altered chords were to the liking of~ Carpenter. lie used many intervals o f a second (Figure 96),

941- gs jr

Fig. 96-The Pools of., mm. 1-3 136

and occasionally a composition contains a large percentage of seventh chords, such as in The Lawd Is Smilin' thro' the

Do' To One Unknown, When the Misty Shadows Glide, as well as in Worlds (see Figure 88, p.. 130).

Carpenter made frequent use of the ninth chords, par- ticularly in the solid block style as in Slumber song

(Figure 97), and occasional use of the eleventh chords either in the solid block style, or by the gradual intro- duction of the component tones: as in Young Man, Chieftain (Figure 98).

Fig. 97--Slumber Song, m. 52 137

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Fig., 98--ovYoun M~, Chieftain, m. 54 .

The mass effect of his harmonies is rich but not thick.

Carpenter was very adept to giving an oriental color to

music, particularly to the Chinese Tone Poems (Water Colors).

He accomplished this through the means of the whole tone scale

in The Green River (see Figure 34, p. 86), and in On a Screen (Figure 99).

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6

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Fig. 99-in a Screen, mm. 5-au9 138

Carpenter also obtained this color by the use of tonic chords: and the omission of the third (Figure 100).

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T V ! V I V I

Fig. 100-**Highwaymen,, mm. 1-3 and by the use of open fifths preceded by a grace note (see

Figure 40, p. 93). The combination of the diminished seventh chord in the open arpeggio style, with the rhythmic pattern of an eighth and two sixteenths, also creates an oriental effect (Figure 101). 139

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Fig. 1- ali ;q,, .: 1-2

The use of intervals of a second and the open arpeggio of

intervals of a fourth also create the Chinese atmosphere

(Figure 102).

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i

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Fig. 102-.To a Youn Gentleman, mm. 10-11 140

Technically speaking,. the vocal lines in Carpenter' a music are relatively easy, but the accompaniments are diff'i- cult. The songs are definitely accompanied solo songs--.a well supported--which stems from the fact that he wa a pianist. It is easy to see his virtuoso technique. Along with his use of tricky rhythmic patterns and close harmony, Carpenter has made use of the wide piano range, as he hae utilized the extreme ends of the keyboard in most of the songs (Figures l03-and 104).

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Fig. 103-To a YounMGentleman, mm.. 1-2 141

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Fig.ll4--M he Maiden, mm. 45-46

To the music of the people belongs The ome Road,, written in 1917 when the war fever was at its height. Edward Elgar once said:

Why should a composer always write in an exacting spirit? Why not relax the bow occasionally. My conception of a composer's duty includes his being a bard for the people. He ought to write a popular tune sometimes.P 9

The English master pointed his case by writing the marches

in Poa and Circumstance and Carpenter seconded him by the production of The Home Road.40

3 9 Felix Borowski, "JohnAlden Carpenter," Musical Quarterly, Vol. XVI (Jan.-Oct., 1930),. p. 456-7T.

I" :., p. 456-7. 142

When the history of music in America--the history of

its later phases--comes to be written, the achievements of Carpenter will necessarily form material for an important chapter.

Living in an age that has apparently parted company with the ideals and the practices of earlier composer, Carpenter has not only contributed to it the brand of music which is of modernity modern,, but has suffused it with warmth and beauty that have been the constitu- ents of the finest classic art.41

Carpenter assimilated all the necessary ingredients of

his craft: the advance of musical technique and musical ideas

which were accumulating and welding them together to create

beautiful things.4 In Carpenter is found a meditative spirit, a love of expressing the genius of nature, the out-

of-doors, in its quieter aspects and in its influence upon human experience.

Whether you like his songs or not, you must admit that Carpenter has something to say, and says it very expressively, apparently without any apolo- getic feeling,f4 shame for not being completely Luropeanized. -

Carpenter, says Howard Hanson, will be remembered for several important contributions:

4lBorowski, "John Alden Carpenter," Musical Quarterly Vol. XVI (Jan.-Oct., 1930), p. 466.

42in Downes, "John Alden Carpenter, American Crafts- man,, Musical Quarterly, Vol. XVI (Jan.-Oct., 1930), p. 448.

quoted from the Boston Transcript in "A New Spirit in American Lusical Composition," Current Opinion, (January, 1913), p. 32. 143

He was one of the first to break successfully with the German tradition which was so powerful at the time of his birth, a tradition which simultaneously nourished and smothered its disciples. He was one of the very first Americam to bring to American music a subtlety and delicacy of expression which had been up to that time generally lacking. He continued the excursion into the expression of humor in music, already begun by Chadwick, but in a way which was entirely individual. Though primarily a melodist and colorist, he has re- mained interested experimenter in rhythmic tech- niques.

Suffering from astroke on his seventy-fifth birthday,

Carpenter made the following statements as to the role of

music and art today.

Their task is to nourish and sustain people. American leadership has become recognized in the military and economic spheres. It is necessary for us to become spiritual leaders. Music, and all the arts, are the medium through which we can express this spiritual leadership. For the creative artist this is a trying and diffi- cult time. We live in fear--fear of today and of tomor- row. What we need is greater courage and vision to grasp the position of leadership now taken by the scien- tists and political statesman. I recommend prayer and a return religion and art as a solution to today's problems.

Carpenter was not only a composer; he was an aesthetic thinker who saw in art, as well as in religion, values and principles which should influence the practical thinking of our age. 4 6

4 4 Howard Hanson,, "John Alden Carpenter," Saturday Qeviye (February 24, 1951), p. 50.

45":JohnAlden Carpenter, A Musical Humanist," Musical America, (May, 1951), p. 12. 46 Ibid.

. ___- s i q APPENDIX

SONGS IN ORDER OF COMPOSITION

*Information received from Thomas Pierson, The Eastman School of Music, Rochester, New York. **Songs used for this study. ***Unpublished songs. Information received from Pierson,

1894 * * . .*Love Whom I Have Never Seen . . . Unidentified *My Sweetheart ...... Alexander

1896 . *Branglebrink. . . . (songs for the 1896 Hasty Pudding Play--Harvard) *Norse Lullaby ...... Field

1897 . . . . *Alas, How Easily Things Go Wrong ...... McDonald *Selections from "The Flying Dutchman" (Hasty Pudding Play, 1897) On the Bouwerie Memories Fairwell, Fair Harvard The Little Soldier Flutter at Will,, My Heart The Breeze and the Violet *In Spring * ...... Shakespeare *Little John's Song . . *Memory . . Hopper ...... , "London Atheneum" *Mistress Mine . . . . Unidentified *Sicilian Lullaby . . Field

1900 . . .*The Little Dutch Girl .. . . Stone

1901-1902 . Improving Songs for Anxious Children ...... Carpenter

1904 . . When Little Boys Sing .. 0. Carpenter

1905 . . . . t*Treat Me Nice . . . . . Dunbar

1908 . . . **The Cook Shall Crow . . . Stevenson .s **May, the Maiden . . . s Lanier .0 **Go, Lovely Rose . . .. " Waller

144 145

. *The Heart' 1909 . .. . s Country . . . . 9 Wilkinson **The Green River . . . . , 9 Douglas Little Fly ...... Unidentified **Looktng-Glass River . . . Stevenson

.9 1910 . . *When the Misty Shadows Glide I Verlaine .9 Chanson d'Automne ...... 9 Unidentified

*Dansons la gigue ...... 9 9!.. Verlaine f. 1 Il pleure dans mon coeur . .9 Unidentified **Le Ciel ...... 9 Verlaine

1911. .*.*Bid Me To Live ...... 9 . Herrick *A Cradle Song ...... 9 9 . Blake *Don't Cebre ...... 9 9 9 Barnes

1912 . 9 . . Fog-'wraithe . 9 Unidentified

Her Voice . . 9 Unidentified .9 **Les Silhouettes . ." ." ." ." ." ." ." Wilde S **To One Unknown . 9 9 9 9 9 9 9" Dudley *Gitanjali 1913 , . .. song cycle ...... Tagore When I bring to you colour' d toys On the day when death will knock at thy door The Sleep that flits on Baby's Eyes I am like a Remnant of a Cloud of Autumn On the Seashore of Endless Worlds Light, My Light

1914 . . .. **The Player Queen ...... Yeats **Wull Ye Come in Early Spring . . Barnes

1915 .. 9 9 *TheDay Is No More ...... Tagore **Water colors (Chinese tone poems) translated by On a Screen Giles The Odalisque Highwaymen To a Young Gentleman

**The 1917 . . S. Home Road . . . . . 9 9 . 9 Carpenter Khaki Sammy. . . . . 9 9 9 9 Unidentified **The Lawd Is Smilin' thro' the

Do' ...... 9 Unidentified

1918 .. . **Berceuse de la guerre . . * .. Cammaerts

. 1920 . . *Serenade ...... Sassoon **Slumber Song ...... Sassoon

Possibly Verlaine. 146

1922 . . . .***Les Cheminees Rouge ...... Havet

1923 . . . . '***Soeur Divine . . . . . Calve ***Le Petit Cimetilre ...... Havet

1926 . . . . Four Negro Songs ...... Hughes **Shake Your Brown Feet, Honey The Cryin' Blues **Jazz-Boys That 5oothin' Song ***Mountain, Mountain ...... Carpenter

1928 . . . .***America the Beautiful . . . Unidentified

1929 . . . .***The Hermit Crab ...... Hyde

1930 (publ.) **Young Man, Chieftain . .a. . . Austin

2 1931 . . . .***Gentle Jesus, Meek and Mild . . Unidentified

1934 . . . .***The Past Walks Here . . ... * Cloud

1936 (publ.) **Rest ...... Simpson ". **Morning Fair ...... Agee . . Livingstone If.. 1938 (publ.)**Worlds ...... T. .l.f.a . Fisher **The Pools of Peace . . . . . Campbell

1943. . . .***Blue Gal ...... Unidentified

(n. d.) , .***Down in India ...... Hope ***About My Garden ...... Unidentified

Of the songs used in this study (those marked with **) all except the following are published by G. Schirmer, Inc., New York. May the Maiden, The Heart's Country, and When the Mist Shadows Glide are published by 0. Ditson, Boston.

2 Possibly John Wesley. 147

SONGS IN ORDER BY AU THOR

Agee, James . ./.* ...... Morning Fair

Alexander, Griffith ...... * My Sweetheart

Austin, Mary 0. .1...... Young Man,, Chieftain

Barnes,, William ...... Don't Ceire Wull Ye Come in Early Spring

Blake,, William ...... A Cradle Song

***Calv4, Emma ...... 0 Soeur Divine

Cammaerts, Emile ...... Berceuse de Guerre PeaceofPools.Thea* Campbell,. Joan . " . Carpenter, John Alde n ...... The Home Road Improving Songs for Anxious Children When Little Boys Sing Branglebrink (1896, Hasty Pudding Play) The Flying Dutchman (1897, Hasty Pudding Play)

***Cloud,, Virginia Woodward . . . . .N The Past Walks Here

Dudley, Helen . .. .. " . . . . . To One Unknown

Dunbar, Paul Laurenc e .. . * . . * . Treat Me Nice

Field, Eugene ...... *. Norse Lullaby Sicilian Lullaby

Fisher,, Aileen ...... *a. Worlds.

Giles, Herbert A. (translator) . . Water Colors (Chinese Tone Poems) On a Screen The Odalisque Highwaymen To a Young Gentle- man 148

***Havet, Mirsille ...... Les Cheminees Rouges Le Petit Cimetiere

Herrick, Robert ...... Bid Me To Live

***Hope, Lawrence ...... Down in India

Hopper, Nora ...... Little John's Song

***Hyde, Robert .#...... The Hermit Crab

Hughes, Langston ...... Four Negro Songs Shake Your Brown Feet, Honey The Cryin' Blues Jazz-Boys That Soothin' Song

Lanier,, Sidney ...... May, the Maiden

Livingstone, Mabel ...... If

McDonald, George ...... Alas, How Easily Thingas Go Wrong

Sassoon, Siegfried ...... Serenade Slumber Song

Shakespeare,. William ...... In Spring

Simpson, Mabel ...... Rest

Stevenson, Robert Louis ...... The Cock Shall Crow Looking-Glass River

Stone,, Melville E., Jr...... The Little Dutch Girl

Tagore, Rabindranath ...... The Day Is No More Gitanjali song cycle When I bring to you colour'd toys On the day when death will knock at thy door The Sleep that flits on Baby's Eyes I am like a Remnant of a Cloud of Autumn On the Seashore of Endless Worlds: 149

Tagore, continued ...... Light, My Light

Verlaine, Paul ...... Danson la gigue Le Ciel When the Misty Shadows Glide

Waller, Edmund ...... Go, Lovely Rose

Wilde, Oscar ...... Les Silhouettes:

Wilkinson, Florence ...... The Heart's Country

Yeats, W. B...... The Player Queen

Unidentified ...... Love Whom I Have Never Seen Memory Mistress Mine Little Fl Chanson d'Automne Il pleure dans mon coeur3 Fog-Wraiths Her Voice Khaki Sammy The Lawd Is Smilin' thro' the Do' ***America the Beautiful ***Gentl Jes x, Meek and Mild ***Blue Gal ***About My Garden

3Possibly Verlaine is the author.

4 Possibly John Wesley is the author. 150

INS TRUMENTAL WORKS IN ORDER OF COMPOSITION

*1893 ...... - Minuet (Piano)

1911 ...... Sonata for Piano and Violin

1912 ...... Polonaise Americaine (Piano)

1913 * ...... Impromptu (Piano)

1914 ...... Adventures in a Perambulator (Orchestra)

1915 ...... Concertino for Piano and Orchestra

1916 ...... Little Indian (Piano) Symphony

1917 ...... Little Dancer (Piano) Symphony

1917- 1918 ...... The Birthday of the Infanta (Ballet)

1920 . .t . . ft ...... A Pilgrim Vision (Orchestra) Tango Americaine (Piano)

1921 ...... Krazy Kat (Ballet)

1922 ...... "."...... Diversions (five pieces for piano)

1923- 1924 ...... Skyscrapers (Ballet)

1925- 1926 ...... Jazz Orchestra Pieces

1927 ...... String Quartet

1930 ...... The Birthday of the Infanta (Orchestra)

1932 ...... Patterns (Piano and Orchestra) Song of Faith (Chorus and Orchestra)

1933 S ...... Sea Drift (Orchestra)

1934 * ...... Piano Quintet

1935 .. "" ...... Danza (Orchestra) 151

1936 ...... Violin Concerto

1940 ...... Symphony No. 1

1942 ...... Symphony No. 2 Song of Freedom (Chorus and Orchestra)

1944 ...... Anxious Burglar (Orchestra)

1945 ...... The Seven Ages (Orchestra)

1948 ...... Canmel Concerto (Orchestra) BIBLIOGRAPHY

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A Hundred Years of Music,, New York, Alfred A. Knopf, 1938.

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mi" ll- -l- - , , . - I m ol 153

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