July 1887) Theodore Presser
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Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1887 Volume 05, Number 07 (July 1887) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 05, Number 07 (July 1887)." , (1887). https://digitalcommons.gardner-webb.edu/etude/307 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ' occurs. Otherwise, William Mason could be an almost rhythmical life, as is the Concert Etude “ Medea,” endless topic. His labors for art always unselfish, the na- which, while being somewhat fragmentary, is certainly tive amiability of the man, and the single-hearted purity very broad and symphonically conceived. In a more PHILADELPHIA PA., JULY, 1887. of purpose of hig active life, not to speak of his splendid tender spirit are the pretty little “ Ethelinda ” and piano playing, so limpid and crystalline, all could be ex- “ Regrets ” conceived, and show the composer's A Monthly Publication for Teacher* and Student* of the Piano-forte. amined in detail and with fruitful results, but it is with his ability to handle different phases of emotion. Mr. piano compositions we are mainly concerned. They Sherwood has mastered the difficult art of form, and Sde*obiptsojs Bates, $1.60 pm Teas (payable 1 b advance). mirror perfectly his own pianism, and are sparklingly knows what he wishes to say, and says it well and to the Single Copy, 15 cent*. crisp, and full of a dewy freshness, that has enabled them purpose. 'His ancle, Mr, Edgar Sherwood, writes in a The eoarts have decided that all subscribers to newspapers are held to their vein, his “ responsible anti! arrearages are paid, and their papers are ordered to be hold own against the formidable phalanx of more popular and Grand Menuet-to,” in A discontinued. foreign invasions. How suggestive is the dainty “ Silver flat, is well known to every concert-goer, and deservedly PRESSES, THEODORE Spring,” played to death as it is. The “Etude Ro- so. He has also written a nice polonaise in A minor, and 1704 Chestnut Street. PH1LADILPHIA, PA. manze,” with its strange Hungarian scale, is also very some of his songs are very pretty. While not pretending EDITORS W. a B. MATHEWS, JOHN S. TAN CHIVE, effective. The various danse forms Dr. Mason particu- to the scholarly finish of his nephew’s composition, Mr. JOHN C. FILLMORE, JAMES HUNEKER, larly excels in. His mazurkas, valses, gavottes and Edgar Sherwood may, nevertheless, be rated as a good D. B* P. BRYANT. figures are all excellent and the form always perfect In 1 and conscientious composer. Managing Ed'Uor, Advertising Manager, point of fact, that is what first attracts the attention, both Madame Julia RivJ-King can certainly claim the THEODORE PRESSES. N. ALLEN STOCKTON. in the composer and the performer, his absolute mastery honor of being the best composer among the fair sex in {Mkiertd st Philadelphia Post (Arc* m Bseondskm Mailer,) of the outline, so to speak, and his admirable use of this country, and though the competition is not great, technical resources. His arrangements are also ex- that does not in the least detract from the intrinsic cellent. Dr. Mason occupies a unique reputation as a merit of her -work, which is done in a thoroughly vir- AMERICAN PIANO COMPOSERS. teacher, and his pedagogic ‘work exhibits ‘ the same tuoso spirit. Madame ’King is also a bird of passage, simplicity and directness of purpose that marks his flitting continually from place to place, and her original Continued. other efforts. work is mostly written for her already enormous reper- It Is conceded by most critics that Louie Moreau Gotts- Both Homer N. Bartlett, John N. Pattlson and toire. Her “Polonaise Heroique ” is the best of her chalk was not only the pioneer of the pianists, but one Alfred H. Pease may be said to be influenced in their compositions, and is a very difficult but effective piece of the style Gottschalk, the first particularly. Bartlett’s for the concert stage. The “Bubbling Spring,” heard most talented pianists of Ms day. Talent is hardly by two . is little trifle, and the word—genius would be a better one, if it was not so music has a brilliancy shoot it that is very taking. His everywhere, a delicately-conceived perpetually abused. His touch and style were unique, “ Polka de Concert,” while not up to his more mature within the grasp of most amateurs. Madame King’s and possessing a brilliant technic, and no little imagina- efforts, indicates the bent of his style. Pattlson, too, paraphrases are marked by good taste and musicianly tion, it was quite natural Gottschalk should compose, and exhibits much dash, although it is a dead school at feeling. The two songs of Jensen, and the very bold compose well, for his instrument. In feet, it mast present. Alfred Pease played very well and composed experiment of transcribing the last two movements of be confessed at the outset, that, despite their artificial well, bat in a conventional manner. He played his own Mendelssohn’s E minor violin concerto, reveal hex' solid tone, his compositions reflect more thoroughly & certain Concerto with Thomas in Philadelphia, 1878. It is a attainments. The last-named composition, in the hands phase of American life than any composer that has fol- well-handled work, brilliant, not very imaginative, but of the fair pianiste and transcriber, certainly gives an lowed him. He wag a dreamy, poetic character, Creole deserves honorable mention. He was at one time a excellent and faithful idea of the original, although the birth, Biilow. naturally loses being transferred to by evidently affected by Chopin, then in his zenith, pupil of k. slow movement by but more particularly by those weird, plaintive melodies Three composers, st one time the fashion, are seldom the keyboard. Madame King .has also written an ex- that seem to float in the Southern air, and that he so skill- heard now outside of the school room. One was George tremely brilliant and taking Yalse de Concert, “ Wiener fully incorporated in ail of his William at compositions ; for when Warren, a friend of Gottschalk and the com- Bonbons.” he attempted the classic or grand, he signally failed. poser of the popular “ Tam O’ Sfaanter ” and “ Song of A young and -talented pianist of Boston, a pupil of | These quaint, sad, African melodies are very fascinating, the Brook.” The other two are J. D. Wilson and Mr. both Carlyle Peterailea and Calixa Lavall6e, Milo Bene- being, as they are, genuine volks-lieder of the colored Wyman, the former being the composer of the some- dict by name, has been giving evidences of a strong bent population. How far they can be called national de- what sentimental “ Shepherd Boy,” and the latter giving toward composition. His two concert polonaises in Di» pends on our understanding of that word.' They are cer- the world that much-abased piece, “Silvery Waves.” major and C# minor, show a skilled hand and a clever tainly indigenousffCTour soil, and have sever been heard These are genre pieces, of not very high standard and grouping of themes. If they are a little suggestive at ' outside of America. Gottschalk, then, may be indeed show the influence of the salon style. Gradually, how- times of Chopin, all the better, as it is a good thing for called the American piano composer for the above reason, ever, 'as ©ur young men returned from abroad, a differ- a young composer to show a leaning toward some great otherwise he is artificial, trivial, even tawdry at times, ent order of composition sprang up, and the influence of model. His concerto in E minor, played at the Boston writing -for mere sensational effect (we must make allow- Mendelssohn, Schumann, Schubert and Chopin made Convention by himself, is, without doubt, the very best ances for the culture of his audiences). His works are itself felt The artificial, dreary, affected school died specimen of this form by a native-]»rn American. It is devoid of intellectual content, shallow, and yet musical out, we hope forever, and a much healthier class of. full of beautiful melodies, and tb^whole work is bathed always, full of moods, ranging from the dreamy “ Cradle music prevails both as regards form and content. in s poetic warmth that makes it very attractive. The Song” to the brilliant “Pasquinade,” or the broad hu- The name of William H. Sherwood naturally occurs first two movements are the best, if the writer’s memory mor of the “Banjo.” The “Last Hope,” hackneyed to one, being, as he is, one of our representative pianists, serves him aright, and here, again, the Chopin influence as it be, is still a melodious and effective composition. a pupil of Mason, Kull&k and Liszt, and also % composer of is perceptible. If the orchestration is at all in propor- Gottschalk will die hard. Naturally, his peculiar indi- no mean merit How he can find time, in the midst of tion to the piano partition, it will be & very striking viduality found imitators, and the country was flooded his concert giving and teaching, to compose is a mystery.